ISSUE 5, 2014
STANDARD
DOUBLE BREASTED
MODERN DAY NECK TIE
THE LUXURY OF CASHMERE
PISTOLS AT DAWN
Design history and styling
The origins of this wardrobe staple
One of the world's finest fabrics
Autumn/Winter collection 2014
CONTRIBUTORS EDITORIAL DIRECTOR: Hannah Byrne DESIGN & LAYOUT: Hannah Byrne
PHOTOGRAPHY: Elisabeth Willis elisabethwillis.com, Paul Esson, Preston Rhea, Pavan WRITERS: Hannah Byrne, Jonathan Winter, Charlie Coleman, Andrew Byrne ILLUSTRATIONS: Josh Kim jkimportfolio.tumblr.com, Linda Luo behance.net/llinda THE CLOAKROOM: Andrew Byrne, Louis Ialenti, Ben Messina, Mitchell Humphris, Lachlan Sinclair COVER PHOTO AND PHOTOS THIS PAGE by Elisabeth Willis
THE CLOAKROOM: 104 Edward St, Brisbane, QLD 4000, 617 3210 1515, www.thecloakroom.com.au PISTOLS AT DAWN & INITIAL DENIM: 46 James St, Fortitude Valley, QLD 4006, 617 3257 3300, www.pistolsatdawn.com.au www.initialdenim.com
INSTAGRAM: @thecloakroom @pistolsatdawnlabel @initialdenim #handmademenswear
All contents of this magazine are copyrighted Š2014 The Cloakroom Australia Pty. Ltd. / 104 Edward St. Brisbane, QLD 4000. Reproduction of editorial is strictly prohibited without prior permission of The Cloakroom Aus. Pty. Ltd.
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THE POWER OF
I
DOUBLE-BREASTED
t takes confidence to pull off the double-breasted jacket, but when styled well and tailored it leaves a lasting impression. Royals and onscreen crime families alike have favoured the double-breasted jacket throughout history. Members of the British royal family including Prince Charles and movie characters such as Sonny Corleone have worn the double-breasted with flair, furthering a sense of status and power that we associate with this style. We can trace the history of the double-breasted back through imperialist British history, to a time when whoever owned the oceans owned the world and sailors reigned supreme. Trade worldwide could happen only with their tireless and often perilous journeys to import and export food, livestock, weapons and intercontinental passengers. The British navy was largely responsible for the success with which Great Britain colonized much of the world and it is here that the double-breasted jacket was born. Life at sea was rough and there was little in the way of home comforts. Captains stemmed the threat of mutiny with daily rations of rum and layovers whenever possible. Conditions on deck were often miserable and the double-breasted jacket was life changing to our sea faring sailors. The 'reefer' was one of the first documented double-breasted jackets and was prized for its warmth and durability. The jacket was innovative in that it could be buttoned left side over right, or right side over left. This meant that no matter which way the wind blew from, sailors were kept warm. The reefer, like all double-breasted jackets, had anchor buttons on the inside which added another layer of protection from the
sea breeze. Jackets were cut short at the waist making it easy for sailors to run about the deck and climb the rigging. Officers however had less physical duties and wore a longer version of this called a 'bridge jacket.' Soldiers were apparently next to pick up on this new design. Trench life was as intense as a life spent at sea and sleeping in trenches became a lot warmer with a jacket that gave more protection from the wind. The double layer of buttons also added safety on the battlefield, as it was less likely that a soldier’s jacket would fly open inopportunely during combat. As with many examples of style innovation, sportsmen such as hunters were early adopters and the first civilians to wear double-breasted jackets. The double-breasted suited their practical needs and it wasn’t worn formally for some time. The double-breasted jacket slowly worked its way into more mainstream society with the help of notable innovators such as the Duke of Kent. Traditionally the double-breasted was cut in a 6x3 configuration, which meant there were 6 buttons on the outside and 3 of these could be fastened. The Duke of Kent favoured a 4x2 construction with 4 outside buttons, 2 of which could fastened. This cut was seen as more elegant and was worn in court by the Duke. The 4x2 is still known as “The Kent.” In civilian society the double-breasted jacket was traditionally made with shoulder pads and worn with pants that were pleated and cuffed. The modern double-breasted however is simpler in construction and follows a more tapered line that shadows the body. The double-breasted has also given rise to jumpers, cardigans and of course it’s predecessor the trench coat.
Words by Hannah Byrne Photo by Elisabeth Willis Illustrations by Josh Kim
The Great Depression was responsible for many changes in menswear. Fabric rations meant leaner suits and the fabric hungry double-breasted was replaced with slimmer more tapered single-breasted jackets and trousers with no cuffs or pleats.
James Bond has favoured a double-breasted suit through the ages. Roger Moore as 007 wears a Royal Navy double-breasted jacket with wide peaked lapels and bronze buttons.
For a long time Prince Charles has been a fan of double-breasted suits and is often photographed hand in pocket, in a double-breasted jacket such as this 6x2 construction in beige.
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Sonny wasn't our favourite Corleone brother but he does cut a fine figure in this 6x2 double-breasted tuxedo with wide lapels and a skinny bow tie.
S TY L I N G:
FIT TING:
Double-breasted jackets were originally worn with pleated and cuffed trousers, which helped offset their bulkiness. The jacket has since evolved and modern DBs have wide peak lapels to help accentuate the shoulders and to make a man seem thicker through the chest. The jacket is tapered and often styled with slim cut trousers and a tie that matches the width of the lapel. Alternately, it can be styled more casually with a t-shirt or knitted sweater and a pair of jeans. The June 2014 bi-annual Pitti Uomo fashion event in Florence was full of casually styled double-breasted jackets.
The double-breasted jacket should emphasise the male silhouette. The shoulders should not be rigid but soft with a well-tapered waist to avoid excess fabric. As the jacket does have an extra width of fabric, the buttons must be fastened, whether sitting or standing. This makes the DB a little impractical for long days spent behind a desk but a DB worn unbuttoned while sitting creates a bunched layer of fabric on both sides of the waist. The double-breasted jacket is shown to best advantage in movement or while standing. The DB especially suits tall and slender men as it makes their chest and torso appear wider.
4X1 A more modern cut with a lower lapel
T H E 'DA P P E R D O N' S TY L E Hard-as-nails Hollywood fare, such as The Godfather and Goodfellas, would have you believe that the Italian-American mafia have left a lasting legacy of thuggery, street warfare and public assassinations on western culture; but organised crime is certainly not mutually exclusive with good taste. Say what you will about the Mafiosi, but they certainly knew how to dress fancy. Indeed, Hollywood would have you believe that any self-respecting Sicilian hitman wouldn’t be caught ‘dead’ without slick threads and a ‘killer’ haircut. But is there evidence to support this link between organised murder and trendsetting apparel? Consider Don John Gotti of New York. Gotti assumed control of the famed Gambino crime family in the 1980’s and soon became known for his own brand of well-dressed racketeering. He was often spotted in public wearing nothing less than the finest Brioni and Valentino suits, hand painted silk ties and handmade shoes. The press couldn’t get enough of his affluent schtick and reporters began referring to him as the 'Dapper Don', a title which Gotti adored. Whether playing cards in local cafés or charming the (bought) jury in a courtroom, Gotti refused to let his swanky appearance slip. In fact, he arguably did more to advertise the Brioni brand than any of their legitimate sponsors—impressionable men all over New York were buying up Brioni suits in an attempt to emulate the Don’s charisma. But Gotti was not the first fashionable bad guy. As early as the 1930’s, mobsters were feigning class with a penchant for zoot suits and fedoras. In fact, Chicago hatters struggled to keep up with the demand for fedoras popularised by the antics of the infamous crime boss, Al Capone. Fedoras dominated the fashion industry for years and were later worn by style icons such as Humphrey Bogart and James Cagney. The masculine chic embodied by Capone (and later Gotti) was further popularised and propagated by actor and fashion icon, George Raft (he was often typecast as a violent gangster). Raft drew inspiration from Capone and wore tight-waisted, soft silk suits imported from Italy and paired with a white pocket square. High quality hand painted silk ties were also of great import to this age of ‘made-men.’ It should be noted that the trend of organised
that travels down to the bottom outside button.
4X2 Known as “The Duke” after the Duke of IMPRESSIONABLE MEN ALL OVER NEW YORK WERE BUYING UP BRIONI SUITS IN AN ATTEMPT TO EMULATE THE DON’S CHARISMA. criminals influencing fashion is not limited to America; criminal authorities in Russia often dress in Brioni suits and wear thick gold chains complimented by luxury Vertu phones. Alternatively, the Japanese Yakuza tend to dress with more eccentricity than their western counterparts. Japanese delinquents have been known to spend their pocket money on ostentatious suits, colourful neckties and black sunglasses in an attempt to copy outlandish Yakuza getups. For better or worse, the era of highly presentable Mafiosi seems to be a thing of the past with modern criminals abandoning pin-stripe suits for track pants and sneakers. The mystique of the wiseguy has dissipated over the years and current New York ‘mobsters’ are a far cry from the glamorous days of Gotti and Capone. Words by Charlie Coleman & Jonathan Winter
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Kent. Shorter men favour the 4x2 as six buttons can appear crowded on their jacket fronts.
6X2 Taller men show to best advantage
in a DB with 6 outside buttons. 6-button double-breasted jackets are generally worn as 6x3 or 6x2.
Photo by Elisabeth Willis
THE DESIGN PROCESS BEHIND PISTOLS AT DAWN We spoke with Andrew Byrne and Louis Ialenti from Pistols at Dawn, and asked about the source of inspiration behind each collection and how their collaborative design process works. You recently released your Autumn/Winter 2014 Pistols at Dawn collection, can you talk us through some of the key pieces. ANDREW BYRNE: Jackets are always a focus for us, and especially so in the cooler months. We have become known for the quality we are able to achieve with the way our tailors construct our jackets and it is something that we are very proud of. This season we’ve spent a lot of time designing new pieces to flesh out the range of products on offer and these include a range of less structured jackets, our new trench coats as well as a double-breasted peacoat. Where does inspiration for each collection come from? Do you find yourself inspired in the store or when you’re away from work? AB: Ideas can come at any time and often when you least expect it. I often find myself making notes on my phone or scribbling a drawing when I strike on something. Travel is a definite inspiration and I have been lucky enough to visit some really interesting countries in the last few years.
How do you collaborate during the design process? Is there always consensus on new pieces and the direction of collections? LOUIS IALENTI: The great thing about how we collaborate is that we come at things from very different points of view. This means we see design in different ways, though surprisingly we often get to a similar end point, but obviously through a very different process. We respect each other so don’t get too precious with our own ideas if the other strongly differs or feels that something can be improved. Do you follow many other designers and if so, who are some that excite you? AB: I believe it’s important to know what is happening in your industry so you can understand how the market is moving and the forces that shape it. Knowing what other brands and designers are producing also ensures we don’t inadvertently replicate what others might be doing. Menswear is a fairly narrow field and there’s only so much that can be reinvented each season so it’s important for me that our brand has its own distinct look.
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What have been some of your favourite Pistols at Dawn pieces in recent years? Why? LI: Often the pieces that become favourites aren’t always best sellers. They’re pieces borne out of inspired eureka moments or designs you wrestle with and hopefully get right. Standouts for me include the red linen jacket from 3 seasons ago, our kimono cotton jackets from last Summer and our new A/W 2014 trench which took a lot of thought and tweaking. What exciting plans do you have for future collections? Where do you see Pistols at Dawn in 5, 10 years? LI: We strongly believe that Pistols at Dawn has huge potential. Our customers are constantly telling us that there’s nothing like it in the market and we hope to find a way to take the collection to other markets over the next few years. Long term I’d love to see more standalone stores where we get to show the collection in our own way. And later this year we’ll unveil our online store, which can take us into the wardrobes of men all over the world.
PISTOLS AT DAWN AUTUMN/WINTER 2014
Photos by Elisabeth Willis
opposite page M I TC H W E A R S: Navy double-breasted jacket $1495 Purple cotton shirt $220 Initial Denim in Kuroki $425 this page B E N W E A R S: Beige trench coat $1295 Selvedge chambray shirt $220 LAC H LA N W E A R S: top Brown wool cardigan $295 Navy drill cotton shirt $220 left Chocolate 'Lapo' shirt $365 Brown and purple gingham shirt $220
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B E N W E A R S: Grey wool cardigan $295 Selvedge blue chambray shirt $220 M I TC H W E A R S: Navy wool cardigan $295 Cloakroom white twill shirt $220 Cloakroom pants in Dormeuil Amadeus $395 Silk tie from Dormeuil $265 LAC H LA N W E A R S: Navy trench coat $1295 White cotton shirt $220
T H E C LOA K RO O M S TA N DA R D
THE LUXURY OF
CASHMERE
A quality cashmere jumper or suit should last a lifetime. The fabric grows softer with each wear, doesn’t pill and like most natural fibres it keeps the wearer warm in winter and cool in summer.
Words by Hannah Byrne Photos by Elisabeth Willis, Paul Esson, Preston Rhea & Pavan
N
othing compares to the soft touch of a cashmere garment. Considered by some to be the most luxurious of all fabrics, cashmere is prized for it’s warmth and durability, but above all, it’s softness. Made from the hair of the Cashmere goat, the fibre differs vastly from wool not only in texture but in feel. There are official classifications for cashmere and the fibres must be at least 3.175 cm long and less than 18.5 microns in diameter. To illustrate just how fine these fibres are, the average human hair is between 70-100 microns. Cashmere is also considered eight times warmer than wool and is able to absorb water and moisture from the body and it’s surroundings without feeling damp or wet. Not much high quality hair is removed from one animal and the hair of three goats is needed to produce a pure jumper, which explains the high retail costs. Inferior short hairs are often sold cheaply and blended with other threads to produce bad quality “cashmere.” First discovered in the Himalayan region of Kashmir, it is from this area that our goats are named. It is interesting to note that goats producing the finest fibres are those that live in the most extreme climates.
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THE HAIR REMOVAL PROCESS IS TIME CONSUMING AND COMPARABLE TO FORCING A SCREAMING TODDLER TO HAVE THEIR MATTED AND TANGLED HAIR BRUSHED FOR AN ENTIRE DAY.
Goat hair keeps the animal warm and the harsher and more changeable the weather, the softer and more durable this hair grows. Cold winters contrasted with hot summers help produce the finest threads. America, Australia and New Zealand all produce cashmere, but it is noticeably inferior to that which grows in remote areas of the Himalayas and the high mountains of China. Like most goats the Cashmere variety has two layers of hair - the outer “guard layer” which is straight, coarse and thick, and the soft curly layer that grows closest to the body. It is this soft inner hair that is used to produce cashmere garments and traditionally these are brushed from the neck using a large comb. The process is time consuming and comparable to forcing a screaming toddler to have their matted and tangled hair brushed for an entire day. In many countries including Australia and New Zealand the goats are sheared and the hairs sorted once cut. This process is faster but more likely to damage the long fine strands. Mongolia is historically the centre of all things cashmere and many herders own radios so that they can follow the price of the commodity, much in the way that investors follow the stock exchange. Like stock trading,
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herders sell cashmere when prices are high and store it safely in open fridges when prices are low. $95 a kilogram is considered the break-even point and prices can hit as high as $150 a kilogram when demand rises. The cashmere production process starts when hairs are combed from the goat and sorted by length and width. The coarse and short hairs are discarded as these break and pill more easily when woven. Hairs are next separated by colour then washed, dried and spun before being dyed. Lighter garments are softer than
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dark, as more dye is needed to achieve colours such as black, brown or navy. White cashmere hair is most sought after, as it is easiest to dye and a white cashmere jumper will always feel softer than a heavily dyed black jumper. Cashmere is also woven with other natural fibres to create interesting textures and styles such as silk blends, which give more sheen and drape. Blends such as these also add more structure and form to a garment as a pure cashmere suit would be somewhat floppy in comparison.
MONGOLIA IS HISTORICALLY THE CENTRE OF ALL THINGS CASHMERE AND MANY HERDERS OWN RADIOS SO THAT THEY CAN FOLLOW THE PRICE OF THE COMMODITY, MUCH IN THE WAY THAT INVESTORS FOLLOW THE STOCK EXCHANGE.
D I D YO U K N OW? D O R M E U I L CA S H A S I L K French fabric makers Dormeuil produce a unique blend of Mongolian cashmere and silk for their Cashasilk collection. Available in a range of block colours and a variety of checks, it is soft to the touch, warm and incredibly light at just 260 grams.
D O R M E U I L ROYA L Q I V I U K 'Royal Qiviuk' from Dormeuil is the next level of luxury when it comes to fabric. The Qiviuk cloth is made from the hair of the musk ox, which lives predominantly in the Arctic areas of Canada. The ox is a protected species and there are only an estimated 80,000-125,000 animals worldwide. Similar to cashmere goats, the musk ox grows a soft layer of underbelly hair and each spring this is shed in clumps. Indigenous Canadians scour the icy tundra for one of the softest naturally occurring fibres. The precious fibres are finer than cashmere at just 11.4-15.3 microns in diameter. The price of Qiviuk reflects this time consuming collection process and the fabric is one of the most expensive on the market. Qiviuk is blended with other natural fibres such as wool and cashmere, but many tailors are hesitant to work with it as it is so expensive and incredibly delicate to handle. Demand currently outweighs supply and this is reflected in the price of a Qiviuk suit, which often tops $30,000.
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› Goats were the first domesticated animals, kept for their milk, hair and meat. There are an estimated 500 million goats worldwide and more people eat goat meat and drink goat milk than any other animal (chicken and beef included). Goat meat also has less fat than chicken and more protein than beef. Goats are hardier than many other animals and can survive through droughts like sheep and cattle can’t. › Myth has it that goats first discovered coffee. An Ethiopian goat-herder called Kaldi noticed that his goats were so energetic after eating a certain berry that they couldn’t sleep at night. Kaldi tried the berries himself and feeling a rush of energy decided to take them to a monastery. The monk in service called him crazy and threw the beans into the fire. Lo and behold, a lovely aroma filled the room and the monk scrambled around in the embers to save the beans. These were added to water, strained and the first coffee was made.
I N I T I A L D E N I M CA S H M E R E Initial Denim offers a limited edition of cashmere denim. The fabric is a medium weight cotton on the outside with a soft cashmere layer on the inside. This makes for incredibly comfortable jeans. I N I T I A L D E N I M CA S H M E R E: $695
MERCEDES-BENZ FASHION FESTIVAL X
PISTOLS AT DAWN
P
istols at Dawn will be showcasing their Spring/Summer 2015 collection at this year's Mercedes-Benz Fashion Festival in Brisbane. Pistols at Dawn has exhibited three times previously and after two years spent developing the brand are thrilled to be back on the program. Here is a retrospective look at their previous shows, with key pieces highlighted from each collection.
The MBFF showcases a variety of local and national brands during the week long festival and also hosts numerous additional fashion events across the city. The Pistols at Dawn show will be take place on Thursday August 28th at City Hall. For more information visit www.mbff.com.au.
2010 CO L L E CT I O N With 2 shows under our belt the 2010 collection felt much more confident and complete. Linen featured as the fabric to anchor the story of the range and standout pieces from the show included a vivid red linen jacket and matching pleated shorts. The collection also featured the first time we used kimono fabrics in a garment which has in recent years become a centerpiece of our Spring/Summer ranges. - Andrew Byrne, Pistols at Dawn
Lightweight fabrics and linings and silhouettes that are contemporary enough to be cool without sacrificing a dash of masculinity have the menswear market stitched up. The cut of the jackets, colour of the shirts and fresh shorts all combined to make sure the Pistols and Dawn presentation went off without a single backfire. - Vogue Australia
“ All photos courtesy of the Mercedes-Benz Fashion Festival Brisbane
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2009 CO L L E CT I O N The 2009 collection was a range punctuated with much more colour than we’d ever used previously. Using fabrics we were comfortable with, we played to our strengths with a show that featured jackets worn with shorts and handmade hats. -Andrew Byrne, Pistols at Dawn
2008 CO L L E CT I O N
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Local designers Josh McPherson and Andrew Byrne are my hot pick of the BFF, after their Pistols at Dawn label comes out guns a-blazing in the 6pm group menswear show. The pair make lightweight tailored suits, shorts and shirts perfectly attuned to our climate, but without sacrificing on style. With just enough detailing to make them special, their classic cuts with a contemporary twist should go far. - Georgina Safe, The Australian
Our first runway show was nerve wracking to put together and we were all very nervous in the lead up. Unsure whether to play it safe or take a few risks in the end we opted for an adventurous story. Jackets and pants were styled with open neck white shirts and finished with handmade scarfs and leather sandals. For the record, our handmade sandals sold out soon after. - Andrew Byrne, Pistols at Dawn
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It was Pistols at Dawn, however, who stole the show with a collection of pieces made for the modern man. Olive suit jackets, Guantanamo Bay orange shorts, linen pieces and the perfect blue mackintosh-style jacket are wardrobe essentials. - Vogue Australia
WHAT DOES $19 BILLION BUY? Earlier this year, social media giant Facebook acquired messaging service WhatsApp for a staggering $US19 billion. Facebook paid $4 billion in cash and the rest in reserved stock
$US1.4 billion The amount that Transocean Deepwater was fined for their oil leak disaster in the Gulf of Mexico in 2010. 11 people died and an estimated 4.9+ million barrels of spilled out into the ocean.
(Facebook's PE ratio at the time of this purchase was 100). We decided to take a look at other figures that come close to the cost of this purchase (in ascending order).
$US3.79 billion
$US3.94 billion The cost of building one NY World Trade Centre.
The Voyager Project has cost $US938 million to date which translates to approximately $US3.79 billion now. The two spacecraft have been traveling since 1977 and still have enough fuel to travel until 2020. The longest living space crafts in history, Voyager 1 and 2 are now billions of kilometers from Earth and the data that they have provided on plants and our solar system has been invaluable. The crafts each have only 68kb of computer memory (USB flash drives are generally 8gig which is 100,000 more powerful) and use 8-track tape recorders and yet on they trek!
$AU6.6 billion The cost of the 2000 Sydney Olympic Games.
$US4.75 billion The cost of building the Large Hadron Collider, the world's largest and most powerful particle collider. The LHC is made up of a 27km ring of superconducting magnets (kept at -271.3c which is colder than outer
space) and structures used to increase accelaration of particles. 2 high-energy particle beams travel at nearly the speed of light before colliding and the LHC was used to prove the existence of Higgs boson particle.
$US8.6 billion $US6 billion The cost of landing 4 people on Mars as part of the Mars One project. This price would include all hardware and operating costs. The project aims to land 4 colonists on the planet in 2025, after a 7-month journey from Earth and to have landed 20 people by 2033. 43 Australians have applied to join Mars One.
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The cost of building the Panama Canal in today's dollars - it cost America $US375 million in 1914.
$US10 billion The estimated cost of building the Hubble Telescope in 1990 plus all cumulative costs to date.
$US10.46 billion The entire US government budget for a day.
$US8.77 billion
$US10.46 billion
North Korea's military spending in 2011, according to calculations by South Korea. This equals around a quarter of their national income.
The price that Disney paid for Pixar in 2006.
$US11.8 billion $US10-15 billion The estimated worth of The Vatican, according to Time Magazine. The Vatican Bank declared its earnings for the first time ever in 2013, as Pope Francis seeks to stamp out corruption in the church.
The cost of creating the General Atomics MQ-9 Reaper drone which is mostly used by the US military. The remote controlled drone has been used extensively by the US Airforce and the US Bureau of Investigative Journalism reports that there were +1000 drone strikes in Afganistan during 2008-2012.
$US51 billion The cost of the Socchi Winter Olympic Games. The Vancouver Winter Games cost $US8 billion in 2010 and China's 2008 Summer Games in Beijing cost $US44 billion.
$US26 billion $US15.3 billion Four American wars combined: The American Revolution ($2407 million), the Spanish American War ($250 million), the War of 1812 ($1553 million), and the Mexican War ($2376 million) — all at 2011 value.
The Manhattan Project cost $US2 billion which equals approximately $US26 billion now. The project created the Little Boy and Fat Man atomic bombs, which were dropped on Hiroshima and Nagasaki respectively. The bombs killed an estimated 150,000-246,000+ people and Japan promptly surrended and WWII ended.
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$US202 billion The dollar value of the biggest recorded takeover. In 1999, Vodafone bought German telecommunications company Mannesmann, in a hostile takeover. Mannesmann persuaded Vodafone to let them keep their name but Vodafone went back on their word and re-branded soon after.
B U T TO N S E W I N G F O R N OV I C E S (A KA M E N ) Words by Jonathan Winter • Illustrations by Josh Kim SOMETIMES BUTTONS FALL OFF
T H E U.S. D E PA RT M E N T O F AG R I C U LT U R E WA N T S YO U TO W E A R H I G H Q U A L I TY COT TO N S H I RT S There was a time when U.S. government bodies cared about how men dressed. They created a series of guides, dating back to the 1930's, which give detailed information on buying and mending quality shirts and suits. The timeless instruction still holds true and we wanted to share some pages from the Department of Agriculture's guide to cotton shirts from 1939. Scanned and filed by Google, these are now available for reference online.
Now we come to the ancient and dark art of re-attaching that most quintessential hallmark of civilisation, the button. Although buttons have been a formidable tool in humanity’s arsenal of fastening devices since 2000 BC, we manly-men have, until recently, been loath to attempt solo button-reconfiguration. Of course, in the past, males have claimed the task a lowly station unbefitting of the majesty of masculinity. The harsh truth is that button-sewing is a tricky bastard and many blokes have come ‘unstuck’ in their efforts. Lads! It is time to shed the shackles of traditional gender roles. It is time to embrace our inner metro-sexuality. It is time to liberate our beloved nannas from the bonds of needle and thread. Let us sew! (Disclaimer: I had to ask my nan how to do this)
W H AT YO U N E E D: 1. A standard, sharp needle with a sturdy eye and modest girth 2. A generous length (45cm) of appropriately coloured thread - try and match the colours as closely as possible 3. A 4-hole flat button
FOUR EASY STEPS 1. What’s a needle without thread? Thread that thread through the needle! Then double it up by pulling the thread down so the two ends meet. 2. Time to tackle the button-deficient garment. Sew a stitch where you want the button to be. A stitch? Why that is the fundamental building block of sewing! Push the needle through the fabric and back out again. Voila! Now sew a second stitch to secure the thread. 3. Now for the all-important button application routine. When the thread is secure, push the needle to the front of the garment and insert it through one of the holes of the button. Now send that bad-boy through the opposite hole and back into fabric. Continue doing this for about eight to ten times. That button ain’t goin nowhere! 4. Finally, on the inside of garment, secure the connection by performing 2 to 3 back stitches and cut off any extraneous thread. Congratulations! You have now successfully repaired a faulty item of clothing. With the mastery of this important skill, the world is your oyster. Always remember: a fulfilled and successful lifestyle is a fully buttoned lifestyle. Go forth and sew!
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THE HISTORY OF THE
NECK TIE
Words by Charlie Coleman & Dominic Reid Photos by Libby Willis
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necktie can be worn as an expression of personality or more simply as a means of refining and adding formality to an outfit. Ties are a staple of style and for the last few centuries have been a part of most men’s daily wardrobe. The humble necktie has a long history, dating back to China’s first emperor Qin Shi Huang, who is best known for being buried alongside his army of terracotta warriors. The young emperor was paranoid about the afterlife and when he came into power at age 13 in 246 BC, he started construction on his tomb. Approximately 8000 life size terracotta warriors were manufactured to guard over his body with horses, chariots and 40,000 real bronze weapons at their side. The warriors all wore a terracotta neck cloth, one of the first recorded forerunners of the modern day tie. Modern references of the necktie take us to medieval Europe where the fashion-conscious Parisians were captivated by traditional neckerchiefs worn by Croatian mercenaries serving in the French military. The neckerchiefs were worn as a symbol of belonging to a particular faction or group, a tradition still seen in clubs and schools today. This exciting new garment was referred to as a ‘cravat’ by the French and worn publicly by King
Q I N S H I H U A N G'S T E R RACOT TA WA R R I O R S
Louis XIV in 1650, sparking a fashion craze with men and women all over France wearing lace cravats in an effort to appear chic. The evolution of the cravat took place gradually, shaped in part by the 1692 battle of Steenkerque during which French soldiers were forced to fight with rumpled cravats that were hastily tucked into their button holes, as the result of a surprise attack. This style of cravat became known as the Steinkirk, and in altering the traditional threading of the fabric, took an important step closer to the modern necktie. In 1818, a British pamphlet called “Neckclothitania” was published, detailing 14 different methods to tie cravats, giving men the chance to diversify how they wore their neckpiece. The book also substituted the word 'cravat' with 'tie' and the skill with which a man knotted his tie soon became a measure of class and elegance. This styling remained unchallenged for several decades and according to the Neckwear Association of America (yes such a thing does exist) at this time, to touch another man’s tie was taboo and reason enough for a duel. During the industrial revolution, clothing in general became less decorative and more functional. Our modern day necktie was born in slimmer silhouettes, which
were easier to fasten and less likely to come undone. The morning chore of attaching a tie became a thing of the past and cemented the enduring popularity of knots such as the simple four-in-hand, aka 'School Boy.' After World War Two, returning soldiers looked to celebrate their freedom and also to distance themselves from military uniforms and as an expression of this they wore bold, bright and flamboyant ties. These were often incredibly wide and featured everything from naked girls to Hawaiian prints, photographs and Art Deco designs. This unconventional style was challenged in the fifties by broader changes in men’s style; tapering and slimness became essential and wide flamboyant ties were replaced with slimmer, more sombre pieces. Over the next twenty years ties alternated between gaudiness and restraint, but in the late 1990s and early twenty-first century standardised into thin pieces available in basic colour schemes and patterns. Today, neckties are available in a range of designs, cuts and fabrics, allowing men to personalise their wardrobe and customise outfits. An item as humble as the thin black necktie has become a timeless icon of style and a part of most men’s daily life.
LO U I S XIV
THE STEINKIRK
T H E C LOA K RO O M S TA N DA R D