Issue 1, 2013
STANDARD
On the launch of the second collaboration between The Cloakroom and the St. George Queensland Reds rugby team, Ballymore Stadium
Edition one
Welcome to the first edition of The Cloakroom Standard, our new quarterly newspaper. The Standard is our take on menswear and style, but hopefully without all the fluff. We’ve done our best to steer clear of fashion as much as we can and put together content that encompasses the quality and craft
of what we strive to deliver at The Cloakroom. Our team has done a fantastic job in bringing to life the vision we’ve had for the last 12 months. We hope you enjoy the read! —— Andrew, Louis and the team
a new Denim Movement
THE SEBIRO CODE
QLD Reds Off Field style
Kirgyz White by Dormeuil
Made-to-measure jeans
Pistols At Dawn's Kimono Collection
Dressing the QLD Reds
Dormeuil's coveted cloth
For all your tailoring and alterations needs, Tinker Tailor provides a complete service at the highest quality. Wintergarden, Brisbane City
Shop G-32, Wintergarden, Brisbane 4000 • 617 3210 0801
The Contributors
IN THIS ISSUE
Carmina Shoemakers
editorial directors
PhotographY
Michael McAtomney
Elisabeth Willis elisabethwillis.com
Hannah Byrne
The Sebiro Code
design & layout
Illustrations
Linda Luo behance.net/llinda
Linda Luo
Claire Banks
Writers
The cloakroom
Linda Luo
Andrew Byrne
Michael McAtomney
Louis Ialenti
Lulu Custance
Ben Messina
It's What's On The Inside That Counts
Lauren Quigley
Mitchell Humphris
Lachlan Sinclair
Lachlan Sinclair
Eeshaal Niranjan
Eeshaal Niranjan
Louis Ialenti
The Anatomy Of A Dress Shoe
The Versatile White
The Queensland Reds
Q&A With QLD Rugby Union CEO Jim Carmichael
Kirgyz White
The Cloakroom
Pistols at Dawn
104 Edward St. Brisbane, QLD 4000 617 3210 1515
Shop 11, 46 James St. Fortitude Valley, QLD 4006 617 3257 3300
www.thecloakroom.com.au
www.pistolsatdawn.com.au
on the cover
The Art of Denim
St. George Queensland Reds Photo by Elisabeth Willis
...and more
All contents of this magazine are copyrighted Š2013 The Cloakroom Australia Pty. Ltd. / 104 Edward St. Brisbane, QLD 4000. Reproduction of editorial is strictly prohibited without prior permission of The Cloakroom Australia Pty. Ltd.
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Carmina shoes Words by Michael McAtomney
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allorca isn’t renowned for its fashion, but when it comes to footwear it is the birthplace of a hidden gem. Over the last 150 years the Pujadas family has built a reputation second-to none. The company started from humble beginnings in 1866 when Matías Pujadas began crafting hand-tailored shoes in a quiet workshop. Following in his footsteps in 1905 Mateo Pujadas continued the family trend of craftsmanship when he opened one of the first factories in the Balearic Islands utilising the now famous Goodyear-Stitch (welt). Holding itself in high-esteem amongst the artisans of the footwear industry the family continued to build on the quality and success of their product when in 1961 the founder’s great-grandson, José Albaladejo Pujadas, created one of Spain’s largest shoe companies. Success came quickly for the youngest of the Pujadas family, turning out one million pairs of shoes a year during the 1980s. A market downturn and low demand for the well-crafted clodhopper in the early 1990s forced Albaladejo to take a new direction, creating a revived company in 1997. Concentrating on quality over volume, his goal was to produce some of the world’s finest quality handcrafted footwear... and so Carmina Shoemaker was born. Central to the Carmina story is an 11 step manufacturing process undertaken by its team of skilled artisans. From mastering the perfectly formed last to choosing the precise cut of Cordovan leather to use, right through to the treatment of the finished product with waxes and multi-toned polishes, the production of a Carmina shoe is a thing of beauty. With eight stand-alone stores in Europe and stockists the world over offering the Carmina product, it is easy to see why Carmina is garnering such a loyal following.
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Concentrating on quality over volume, his goal was to produce some of the world’s finest quality handcrafted footwear... and so Carmina Shoemaker was born.
033 1. cr e at i n g t h e la s t: a wo o d e n la st i s made by hand and the shoe design is d raw n d i r e ct ly o n to t h i s 2. t h e pat t e r n: A 2- d patt e r n i s t ra n sf e r r e d f ro m t h e 3- d m o u l d 3. C u t t i n g: e ac h p i e c e o f t h e s h o e i s cut by hand 4. s t i tchi n g a n d w e lt s: a ft e r e ac h p i e c e i s st i tc h e d to g e t h e r t h e s o l e i s attac h e d 5. Pa i n t i n g: t h e s o l e a n d u n d e r s i d e a r e pa i n t e d 6. Fi n i s hi n g to u ch e s: t h e l e at h e r i s t r e at e d a n d f i n a l co lo u r i n g a p p l i e d
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T HE C LOAKROOM sta n da r d
The Sebiro Code Words by Linda Luo Photos by Elisabeth Willis
Pistol at Dawn's Japanese i nsp ired Kimono collect ion
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he expression of style is an ongoing pursuit for many. From risk-takers to the reserved, it involves searching for timelessness in a haystack of trends. Style as we know it differs from fashion in the sense that it comes from inner reflection, while fashion is the purveyor of societal change. Fashion is quick to devour a Big Mac while style savours a slowcooked, herb-infused wagyu fillet on a golden brioche roll. In the story behind Japanese Yukata cotton there lies this pursuit of style; from the exclusive indigo dye that inspired expressive printing qualities, to the liberation of dress in a conservative society.
DYEING IN THE DEEP Four hundred years ago in the summer of Japan, cotton became a popular alternative to linen and hemp textiles for its breathability and widespread cultivation. Given its consistency it was difficult to dye cotton with compounds other than indigo. This made organic indigo dye a popular colouring agent for cotton textiles, particularly in the Edo period (1603 – 1867 AD). Before the introduction of chemical dyes, dark indigo liquid was extracted by fermenting the native indigo weed in a vat with a heat-loving bacteria that would disintegrate the plant. Individual cotton pieces were immersed and then removed from the dye vat numerous times; a process that could last over a week. This gave the dyer control over the hue and shade of the finished fabric. Blue carried an undercurrent of significance in reflecting the oceans surrounding the Japanese islands
and was a symbol of both cultural and economic importance that brought comfort to Japanese farmers. When sumptuary laws restricted common people from wearing silk, gold brocade or embroidery, people sought dyeing techniques to decorate their cotton textiles. ‘Resist dyeing’ is a Japanese printing technique that involves just what the name implies: resisting dye. A simple rice paste 'resist' called Tsutsugaki is applied to fabric within the outlines of a design. Dye is then directly painted onto the fabric, followed by more resist, before the entire fabric is dipped into an indigo dye bath. After drying, the paste is scratched off to reveal white patterns in a sea of deep blue. * The reverse impression, as seen in Pistol at Dawn’s geometric print shorts, uses a stencil, Katazome and a fabric screen to hand print the pattern.
Style with no bounds Draconian laws governed what could and couldn’t be worn, but commoners nevertheless expressed individual style through the obi sash, and embroidered and brightly coloured garments worn discreetly under the kimono. They also purchased “prohibited” silk to be worn on special occasions. This intimate elegance is still present today in and outside of Japan. Any practice, once formed into a habit or longstanding tradition becomes difficult to change, even when new technology renders it obsolete. Traditional dyeing and weaving techniques were the craft of surface dyers, painters, weavers and knitters, and are still found today. Since the Meiji era in the
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The country, once known for its conservative mindset and traditional norms, now influences us with its innovations and eccentric array of fashion, individual style and subcultures.
1880s, western clothing has been widely adopted and working men transitioned into the tailored suit, coined 'Sebiro' after Savile Row. Men and women began to follow western styles and practices as the way to a modern future. The country, once known for its conservative mindset and traditional norms, now influences us with its innovations and eccentric array of fashion, individual style and subcultures. In that collectivist society, we see the individual empowered in ways both subtle and loud. To share a piece of this is to breathe new expression into such a longstanding tradition. When a man puts on a jacket from Pistols at Dawn’s Kimono Collection, he puts on a timeless tradition in a modern context. Tracing its roots to traditional craft, Pistol at Dawn’s Kimono Collection is the result of east meets west.
It's what’s on the inside that counts Words by Michael McAtomney Photos by Elisabeth Willis
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nside every jacket there is a story of how it has been made. Layers of fabric play a vital role in maintaining the integrity of a jacket in terms of its shape and structure. While it may not be a common discussion point with a sales person it is always good to know what you’re buying to ensure you are getting value for money and a long life from your suit or jacket. Canvas (often horsehair) is used prominently in tailored and bespoke suiting construction where it is commonplace, if not mandatory, for a jacket to be fully canvassed. What this means is that a piece of canvas begins at the shoulder seam and runs all the way down the front of the jacket, finishing at the hem.
A properly made jacket will have this canvas layer sewn in by hand, allowing it to ‘float’ before finding its natural resting position on the wearer’s body. The life of the jacket reaps numerous rewards from the canvassing process as it emulates the curves of the chest and gives the lapel a soft roll. In practical terms, a well made canvassed jacket will soften and mould to the nuances of the wearer’s chest and shoulders over time. Like a new shoe, a canvassed jacket gets better the more it is worn. Inferior suits however steer away from canvassing and instead use a fusing process. A synthetic interfacing is pressed onto the inside of the suiting fabric until it adheres to provide the jacket with its initial shape. The
interfacing then wears over time to the point of detachment, usually due to saturation. Recent advances in technology have rendered the fused option a fast and cheap way for a jacket to be made. But for those seeking workmanship that delivers longevity and superior fit, the canvassed option is an easy choice. If unsure of how your particular jacket may be constructed, pinch an inch of fabric at the edge of the lapel and rub it between your fingers. If you feel only two layers of suiting fabric, assume it is fused. If there is a third layer floating in between, then it has been canvassed. Often this canvas layer will feel rough or scratchy when you rub the layers against each other.
Deciphering the code of Invitation H ow i t r e a d s
w h at i t i n s i n u at e s
The True Meaning
Black tie
Tuxedo, not a black suit
Tuxedo only
Cocktail dress
Put some mild thought into it
A suit, shirt and tie that you wouldn’t wear to the office
Black-tie optional
A first world problem of choosing between a suit and tuxedo
Tuxedo
Alternative black tie
Your take on black tie
Black tie
Business casual
Polo shirt, chinos
No polo shirts! A button up shirt with dress shoes. No denim!
Come as you are
Bath yourself prior to attending
Take a shower, dress any way you like
B.Y.O
Bring your drink of choice
Bring a nice bottle of wine to share
T HE C LOAKROOM sta n da r d
The Anatomy of a Dress Shoe Words by Michael McAtomney Illustration by Linda Luo
iii. The Apron The apron is easily recognizable as the leather piece that covers the area where the toe meets the upper part of the foot and is finished with visible stitching.
i. The Sole A good quality stacked leather sole and heel often increase the longevity of the shoe, while providing support for the heel cup and the padded area at the base of the wearers foot. Check that construction of the shoe was done using a ‘Goodyear’ welt, to ensure the sole and the upper of the shoe are stitched together. This means that the shoe can be re-soled.
iv. toe box
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ii iii
ii. The Vamp
This is the bottom part of the shoe covering your toes. The overriding shape of the shoe will be determined by whether it is styled as a wingtip or cap-toe. Traditionally wingtips are more rounded at the toe and cap-toes are squarer but this depends on the last.
v. Tongue
The vamp is the front portion of the shoe that is visible to the wearer. Depending on whether the shoe is an oxford or derby, this part of the shoe will consist of the leather pieces connecting the shoe laces.
iv i
A strip of leather running under the laces or buckle, all the way to the throat and attached firmly to the quarter. Put simply, it's attached underneath the laces.
Polishing your shoes Photos by Elisabeth Willis
Poli s h C lot h
A lint free cotton rag or old t-shirt will do the job. Over time this will get better and better as it absorbs residual polish.
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Wipe shoes down with a damp cloth – depending on how well or poorly they are maintained – to remove any excess dirt or grime.
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Wet the welt brush and scrub out the entire welt strip.
Polish Brush
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Preferably a horsehair brush. This will help get the final high shine out of the leather once the polish is absorbed.
Spread a generous amount of polish over the entire shoe, or the specific area to be shined, using a slightly dampened polishing cloth buff in a circular motion, being sure not to neglect the seams of the shoe. Leave for five to ten minutes to dry.
W e lt Br u s h
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This nifty piece of kit (can be easily substituted with a toothbrush) is a handy way to displace the buildup of dirt between the sole and the upper.
Buff the entire shoe with the horsehair polishing brush using a simple back-and-forth motion to remove excess polish.
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Sho e Polish
Opt for a wax based polish to keep your leather supple and shiny. Avoid petroleum based polishes as they will dry out your leather. One of the best polishes is Saphir and is available at The Cloakroom for $25.
*To moisturise leather use a leather cream such as Collinil Gold.
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For a military style mirror shine on the toe box of the shoe, hold it between your legs and using the same back-and-forth motion as you did with the horsehair brush, buff the toe with the lint free polishing cloth to your complete contentment.
The Versatile White Words by Lachlan Sinclair Photos by Elisabeth Willis
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man’s wardrobe should be built upon a foundation of integral items that tie any situation and dress code together. Whether you are behind the desk, at the bar, or by the pool, the versatility and ambiguity of a white dress shirt make it a must-have piece. Whether it be a formal or casual white shirt, it symbolises utility and fashion at the same time, something that very few other garments can achieve.
Classic combinations such as a navy sports coat and beige chinos, a black tuxedo, or even a grey flannel suit, are all coordinated with ease when white is the foundation.
For the office, opt for a twill or pinpoint weave, depending on your personal preference for weight and texture. Twill has a fantastic drape and sits close to the body, distinguished by its woven diagonal pattern which through its texture adds a three dimensional and lustrous look to the fabric. Alternatively, pinpoint cottons are not as glossy to the touch and have an especially lightweight feel and fine texture, resulting in a shirt with more shape and structure. Understanding the subtleties of such a simple wardrobe staple will give you a sharp look in any situation, whether the dress code calls for a Cash, Kennedy or Blues Brother.
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Many men struggle when pairing outfits, unsure of what colours complement each other and what garments work best together. This is why white is the foundation of a good shirt collection. Classic combinations such as a navy sports coat and beige chinos, a black tuxedo, or even a grey flannel suit, are all coordinated with ease when white is the foundation. For some, a white shirt evokes the uneasy feelings of Monday morning, the fresh shave and the daily commute. However, by understanding distinct styling choices, and which situation they work best in, a white shirt will always succeed.
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1. The Cloakroom white oxford shirt - $200 Carmina Uetam suede loafer - $550 Pistols at Dawn raspberry linen shorts - $250 Carmina suede belt - $240 Creed Tabarome Millesime - $259 The Rake magazine - $25 2. The Cloakroom white linen shirt - $200 Pistols at Dawn blue wool blazer - $895 Pistols at Dawn beige cotton chino - $395 Pistols at Dawn blue wool-linen pant - $425 Carmina suede derby - $650 3. The Cloakroom white twill shirt - $200 The Cloakroom tailored navy wool-mohair suit - $2650 Dormeuil burgundy silk tie - $175 Carmina burgundy oxford brogue - $650 4. The Cloakroom white satin weave shirt - $220 The Cloakroom velvet bowtie - $125 The Cloakroom tailored wool tuxedo jacket - $1350 The Cloakroom white pocket square - $35 Creed Oud - $259 The Cloakroom handmade solid silver cufflinks - $140 Carmina black patent oxford - $695
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4 1. S u n day l u n ch / holiday s i n t h e M e di t e rra n e a n: ox f o r d
2. D ri n k s: l i n e n
3. Mo n day s at t h e o f f ic e: tw i l l
4. B lack Ti e: s at i n w e av e
A crisp slim fit oxford paired with shorts and a pair of loafers or alternately, jeans and tennis shoes. This is reminiscent of the classic collegiate, preppy style. This combination will leave you feeling prepared for any state of affairs and easily allows for the untucked option if the need be.
For an easy throw-together outfit, wear a well-fitted white linen shirt and mix it with simple chinos and dress boots. You’ll be accepted into any reputable establishment when the call comes for a quick after work drink on a Friday.
Wear a smart twill weave with a woolen or silk blend tie of monotone colour (think navy, charcoal or burgundy). Wear it with a grey or navy suit (or jacket) and white pocket square to boot.
For black tie events the necessity of owning a white shirt is paramount. A well-fitted shirt in a tighter, glossier weave finished with thick mother-of-pearl buttons is sure to get you out of trouble. Marry that together with a midnight or black tuxedo with a corresponding bow tie.
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Understanding the subtleties of such a simple wardrobe staple will give you a sharp look in any situation. www.t h e c loa k ro o m.co m.a u
THE CLOAKROOM x THE QUEENSLAND Reds Words by Louis Ialenti Main photo by Elisabeth Willis
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or the second year running, Brisbane based menswear brand The Cloakroom have been asked to dress the St. George Queensland Reds for their Super Rugby campaign. The relationship between the two businesses comes from a common vision of excellence and appreciation of quality. Shared ideologies have brought about a partnership that transcends sport and fashion. The Queensland Reds have set a benchmark in Australia as the only sporting team in the country with a fully tailored and custom designed suit. Queensland Rugby Union CEO Jim Carmichael and Director of Coaching Ewen McKenzie were behind the decision to work with The Cloakroom and were involved in every step of the design process. To get the ball rolling (pardon the pun) every member of the Red’s team, both players and staff alike, was individually measured. Working with Dormeuil, the finest producer of fabric in the world, The Cloakroom created
a more casual outfit for 2013 to complement the 3 piece suit the team received in 2012. A brown wool jacket with a blue windowpane check was chosen to go with a blue wool/mohair pant and red checked shirt. The lightweight pant fabric in particular was selected for its breathability and resistance to creasing, making it the perfect piece for travelling. The selection of fabrics also reflected the team’s heritage colours to coincide with the 130th anniversary of the Queensland Rugby Union being celebrated in 2013. The Reds’ tailor-made suit is a first for Australia; in
T HE C LOAKROOM sta n da r d
contrast, European teams have been at the forefront of distinguishing their players with sharp off-field looks for decades. The likes of Dolce & Gabbana have been dressing AC Milan for years with several looks for different occasions, and Giorgio Armani has been commissioned in recent years to design not only the English FA national team jersey, but also the off field attire for other teams such as Chelsea FC. With a season so full of promise now underway, the Queensland Reds will hopefully continue to play as well as they look.
The 2013 Stats Dormeuil fabrics were used for the jacket and pants. The pants are a wool and mohair fabric from the ‘Mystic Mohair’ collection. The jacket is a wool windowpane check from the ‘Amadeus’ collection. The look is finished with a red checked shirt in an Italian cotton twill and brown suede shoes made especially for the team by Carmina in Spain.
The Red’s travel heavy schedule required something that looked sharp and kept the squad comfortable while on the road. The pant details include hip cinches (no belt loops) to keep the look clean and ensure comfort while sitting. The jacket features a wide notched lapel and patch pockets for a more casual look.
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The Queensland Reds have set a benchmark in Australia as the only sporting team in the country with a fully tailored and custom designed suit.
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1. S t. G e o rg e Q L d R e d s at B a l ly m o r e S ta d i u m, s u i ts m a d e e xc l u s i v e ly b y T h e C loa k ro o m 2. T h e R e d s at t h e m e d i a la u n c h w i t h t h e C loa k ro o m t e a m at b a l ly m o r e sta d i u m 3. W i l l G e n i a, A n t h o n y F a i n g a a, Ro b S i m m o n s, Q u a d e Co o p e r a n d J a m e s H o rw i l l 4. B ac k stag e at t h e C loa k ro o m x R e d s p h oto s h o ot
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Q&A
with Queensland Rugby union CEO Jim Carmichael
Interview by Michael McAtomney Photo by Tertius Pickard
W
ith the 2013 Super Rugby Season well and truly underway, The Cloakroom Standard caught up with Queensland Rugby Union CEO Jim Carmichael. The Reds unveiled their off-field kit in early February – designed exclusively by The Cloakroom, taking into consideration matters of sport and style alike.
michael mcatomney: How important is it for the players of the Queensland Reds to uphold their image as role models in the way they conduct and dress themselves off-field? Jim Carmichael: This year, Queensland Rugby Union
celebrates its 130th anniversary. Therefore it is vitally important that our players represent our code with excellence in all aspects of their roles as elite athletes and ambassadors of our game. Being well dressed as a professional team provides the platform for positive perception.
mcatomney: How does the collaboration between the Queensland Reds and The Cloakroom boost the image of such a professional sporting establishment? Carmichael: Building a strong partnership with The Cloakroom reflects the value we place on our team’s professional presence and there are synergies in our business philosophies and cultural principles which we are fiercely protective of. We are proud The Cloakroom chose the Reds to represent and promote their luxury brand and it takes the team into non-traditional media outside of our current scope, including articles in fashion blogs and lifestyle pages. mcatomney: Reflecting back on when you started with the QRU, would you say you are satisfied with how far the code has come in Queensland in the past three years? Carmichael: Queensland Rugby has achieved
significant progress in all areas of our business over the past three years however we must continue to increase growth and scale in our game to achieve longterm sustainability and success. There are a number of challenges facing our code here in Queensland and also nationally. We need to continue our strategies for
growth and relentlessly pursue excellence in everything that we do so that we can grow the game, make the necessary investments into the code and ensure ongoing interest and increased participation.
mcatomney: How do you see the Reds performing in the 2013 Super Rugby Season?
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There is stability in our list and I can see in Ewen McKenzie and the squad that there is another Super Rugby Championship in their sights.
Carmichael: We are very encouraged by the prospects of the St. George Queensland Reds this year. Our group is another year older in experience yet our average age remains at approximately 23. There is stability in our list and I can see in Ewen McKenzie and the squad that there is another Super Rugby Championship in their sights. We’re all emotionally connected to the goal of finishing with another title and believe last year was a missed opportunity. mcatomney: How does working with the QRU compare with previous jobs and your former position at the AFL? Carmichael: Rugby presented a new challenge to me professionally and personally, so that’s why I was interested and motivated to take on the role. My family and I relocated from Melbourne and made our home here in Brisbane. We were welcomed into the Queensland Rugby community quickly and have been here for over three years now. My work differs to the AFL as Queensland Rugby is a governing body that owns an elite football team and all the assets of the game.
and grandchildren.
mcatomney: What is the best piece of style advice you have ever received? Carmichael: Perception is reality.
mcatomney: Does Jim Carmichael have any hidden interests or endeavours?
mcatomney: What is the one item in your wardrobe that you could not live without?
Carmichael: As you can imagine, heading the governing body of an elite sport is an unrelenting job so any spare time I have is spent with my wife, children
Carmichael: Since meeting Andrew and Louis from The Cloakroom, the one wardrobe item that I cannot live without is heavily influenced by them!
T HE C LOAKROOM sta n da r d
Kirgyz White Words by Eeshaal Niranjan
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Each spring the herdsmen comb the throats of the kids, collecting these precious long strands.
ocated somewhere in the vast mountainous landscapes of Kyrgyzstan is the source of a yarn, from which comes an exquisite silky soft fabric. Crafted by the French house of Dormeuil, the Kirgyz White is one of the finest cloths on earth. Dormeuil has an enviable reputation that has been 170 years in the making. Their quest for perfection and dedication to research and development means they’ve voyaged the world over, searching for high quality fibres with which to craft their fabrics. The yarns used to weave their Kirgyz White are incredibly sought after. They’re shorn from the Kirgyz Echki, a unique breed of goat whose sheep-like fleece is unlike anything used by other manufacturers. The Echki are recognizable by their head of horns and live under the watchful eye of golden eagles that guard them from wolves, foxes and snow leopards. They are herded using traditional methods by the nomadic people of
Kyrgyzstan, living at the foot of the Celestial Mountains that border China. Weather here is extreme with harsh winters and hot summers and it is these conditions that help shape the soft, silky wool of the Echki. The shearing methods to gather this yarn stand in contrast to those traditionally used. Each spring the herdsmen comb the throats of the kids, collecting the precious long strands. The fibre then begins a long journey back to the Dormeuil factory in Yorkshire, England, where it is purified and sorted. The resulting fleece has the strength of sheep’s wool yet the shine and lustre of mohair. Due to the delicate shearing process, harvests vary from year to year. A herd of 30 Echki may only provide up to 10kg of wool. This yield is later woven with the finest Super 140s sheep’s wool to create the Kirgyz White collection. The resulting fabric is of the highest quality and is one of the most sought after from the House of Dormeuil.
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THE ART OF DENIM Words by Lauren Quigley Photos by Elisabeth Willis
History
the derivation for the word denim (de Nimes).
Denim jackets, denim jeans, denim skirts, even the infamous Canadian tuxedo of double denim. There have been significant movements and fashion eras throughout fashion history all because of one fabric — denim. Dating back to the 17th century, denim was a simple fabric that originated in France. Italian sailors from Genoa started wearing trousers made of a twill blend of cotton, linen and wool. They were referred to as ‘Genes,’ and it is from here that the term ‘jeans’ first came about. In another bastardization of language, the word denim originates from the term 'Serge de Nîmes.’ Serge is a cotton twill, woven using a one weft thread under two or more warp threads. The diagonal texture is known as twill. The city of Nîmes in France is known for its textile production including Serge, explaining
tailored Jeans Fast-fashion has reaped the benefits of denim for decades but the focus is now shifting to more authentic, smaller brands that aim for quality over quantity. Raleigh, a small brand from North Carolina in the USA is run by a married couple who work only with local materials and only use traditional methods. The team of around 20 (including a 77 year-old pattern maker), hand make limited edition jeans. The inside pocket is hand signed and the back leather patch is stamped with the number of each pair. Scottish-based Hiut is another brand making a lasting quality product. Each pair of their jeans has a unique number, which can be entered into their HistoryTag website. At each stage of production seamstresses take
pistols at dawn & Initial denim As an extension of their tailoring story, The Cloakroom is taking this process a step further. Next month an innovative jeans concept called Initial Denim will open to complement their new Pistols at Dawn store on James Street. Clients will be able to choose from over 20 varieties of denim (including Japanese, Turkish and American selvedge), and also select the style, fit and finish of their individually measured jeans. Like all things Cloakroom related, the product is produced entirely by hand.
K n ow yo u r t e r m i n olo g y R i g h t h a n d tw ill: This weave results from 2 or more weft threads woven over 1 warp thread resulting in a diagonal texture to the weave and is considered more rugged. Raw D e n i m is not washed after the dyeing process. Over time the denim fades according to each wearer’s body. Fading after prolonged periods of wear, without washing, have become the main allure for raw denim. The fading patterns are a way of personaliing the garment. I n di g o: Warp threads are dyed while the weft are left undyed. The resulting twill shows the colour of the dye on the front of the fabric, with white inside. S e lv e d g e is made on traditional narrow shuttle looms. It is tightly woven, making the denim stronger and more durable. Selvedge has a stronger outseam; often a white edge with a colour running beside it. The selvedge or ‘self edge’ secures the edge of the roll and resists fraying more than a stitched outseam. R i n g S p u n D e n i m: The original denim fabric, known for its characteristic slubs.
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a photo of the jeans and link it to this number. Once they’re yours you can see the birth of your jeans and add to the story by uploading photos of where you went and what you did while wearing your Hiuts.
The Source The Kaihara mills in Japan are one of the most revered denim producers. Renowned for the sanforised (pre-shrunk) selvedge denim they've produced since 1951, the mill uses ring yarn spinning and vintage production by narrow width shuttle machines. Like most upscale denim manufacturers, Kaihara use the “rope dyeing” method to colour their jeans. This involves twisting the threads into a rope-like shape, then dipping the rope into a bath of indigo.
Autumn / WINTER 2013
Photos by Elisabeth Willis
Summer is gone and the heat is fading fast so it’s time to break out something fresh for Autumn and Winter. As we welcome the cooler months it’s time for flannel in all it’s shades, cotton and corduroy in green and burgundy, heavier weight wool in brown and navy and a splash of colour to keep it from getting too drab.
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