新しいけど古いもの

新しいけど古いもの

Vintage “Dunn & Co.” Patch & Darning Old Harris Tweed Jacket

Vintage  “Dunn & Co.” Patch & Darning Old  Harris Tweed  Jacket

SOLD

1940-1950 Vintage  Lots of Patch and Darning Jackets Made of Old Harris Tweed Hand Woven Especially for “Dunn & Co.” 

 

 

全く同じ物がほとんど無く、あっても数がごく少数なのでまず人と被らない(=個性的?)、着込まれた事による経年変化の面白さ、今の物には無いデザインやパターンなどの新鮮さ、ヴィンテージを着る=ちょっとおしゃれ上級者?というイメージ、希少性などなどヴィンテージが選ばれる理由は様々です。

There are very few items that are exactly the same, and even if there are, they are very few in number, so you can’t wear the same item as others (=unique?). There are many reasons why people choose vintage clothes, such as: the interesting change with age due to being worn, the freshness of designs and patterns that are not found in current items, the image of wearing vintage clothes = being a little more fashionable, and the rarity. There are various reasons why people choose vintage clothes, such as the image of being a fashionable person who wears vintage clothes, and rarity.

 

 

 

 

 

 

 

 

 

例えばこのジャケットの生地のテクスチャー。今から80年も前の紡績や製織などの生地作り、生育環境や餌が今と異なる羊毛自体の質の違い、そういった点は、今では望むべくもなく再現もできないものなのだろうと思います。

Take, for example, the texture of the fabric of this jacket. I think that the fabric production such as spinning and weaving 60 years ago, and the difference in the quality of the wool itself, whose growing environment and feeding are different from today, are things that we cannot hope to reproduce or replicate today.

 

 

 

 

 

 

 

 

 

この1着もこの頃のテーラージャケットのスタイルの、力強いショルダーラインを作り出すしっかりした肩パッド、かっちりよりはガッチリというのがふさわしい固い芯、ボタンで閉じられた開き見せの袖、ベンツの無いスクウェアなヘムという、いま着る服としてはどうしても少し野暮ったい物でした。

This one also has the same style of tailor’s jackets of the time, with firm shoulder pads that create a strong shoulder line, a solid core that is more appropriate for being firm than tight, open sleeves with button closures, and a square hem with no vents. It was a bit dowdy for clothes worn nowadays.

 

 

 

 

 

 

 

 

 

パッドを取り除き、肩幅を調整し、ヘムをラウンドさせて裾周りを軽くして、袖幅と着丈を調整して変形のサイドベンツと本切羽を作り、袖と襟に新たにボタンホールを作り、他のも一緒に手でかがり、ライニングと内ポケットを作り直し、ポケットの袋布を作り替え、・・・etc.

We removed the padding, adjusted the shoulder width, rounded the hems, lightened the hems, adjusted the sleeve width and length, made deformed side vents and main cutouts, made new buttonholes on the sleeves and collar, hand-bagged the others together, rebuilt the lining and inside pockets, reworked the pocket bag cloth, …etc…

 

 

 

 

 

 

 

 

 

 

 

 

袖が太くて肩にはバツンとパッドがあって、着丈がだらりと長すぎて、なぜか重くくすんだ雰囲気で、裏地がシミだらけでポケットにはいつのものかわからない埃が詰まってて、ちょっと不潔で古臭くてサイズが合わなくてもそれがヴィンテージなんだしそれで良い(それが良い)と思われる人には全く余計な仕事の数々。

The sleeves are too thick, the shoulders are sloppily padded, the length is too long, the atmosphere is too heavy and dull for some reason, the lining is stained and the pockets are filled with dust from who knows when, it’s a little filthy and old-fashioned and doesn’t fit, but that’s vintage, and that’s fine (and that’s what it’s supposed to be). It’s a lot of extra work for people who think it’s vintage and that’s all right (and that’s good).

 

 

 

 

 

 

 

 

 

Dunn&co.は英国のバーミンガムで1877年に帽子販売から創業し、その後紳士服も手がけ、1900年代初頭には200店舗を有するほどに発展した紳士服店です。業績の悪化により90年代に廃業しましたが、ロンドンやリバプールといった都会だけでは無く、英国のほとんどの主要都市の目抜き通りに店を構え、ツイードやリネンなどオフタイムのスポーツタイプのブレザーで人気を博したお店でした。

Dunn & co. was founded in Birmingham, England in 1877 as a hat retailer and later expanded into men’s clothing, growing to include 200 stores by the early 1900s. Although the company went out of business in the 1990s due to poor business performance, it had stores on the main streets of most major British cities as well as in urban areas such as London and Liverpool, and gained popularity for its off-duty sport-type blazers made of tweed and linen.

 

 

 

 

 

 

 

 

 

ラベルに書かれた[EXPRESSLY HANDWOVEN BY The Crofters for Dunn&co.]が示すように、生地はDunn&co.が特別に作らせた、Dunn&co.オリジナルのHarris tweed。Croftersというのは、スコットランドの島嶼部に残る小作農のことで、18世紀のハイランダー反乱の失敗で、追い出され島嶼部の荒れた土地に住むしかなかった住民たちのコミュニティ。

As the label says [EXPRESSLY HANDWOVEN BY The Crofters for Dunn&co.], the fabric is Dunn&co.’s original Harris tweed, specially made by Dunn&co. Crofters is a community of small farmers who were evicted from their homes and forced to live in the wastelands of the islands after the failure of the Highlander Rebellion in the 18th century.

 

 

 

 

 

 

 

 

 

Crofterが保有できた小作地(Croft)は、元々やせた土地に加えて小規模なため、農業だけでは生計が成り立たず、漁業や家で手工業を手掛けたりして収入を得る必要があった。その家内手工業の一つが手織りの織物であり、それが生み出した特産品がHarris Tweed。島で染色と紡績を行い、職人の自宅で手織りしたものでなければ認めないというHarris Tweedの厳密な基準は、Crofterという存在があってこそというHarris Tweedの成立過程を遵守するもの。

The crofts that Crofters were able to hold were originally too thin and small to make a living from agriculture alone, so they had to earn their income by fishing and doing handicrafts at home. One of these domestic handicrafts was hand-woven textiles, which gave rise to Harris Tweed, a specialty product of Harris Tweed, which is strictly limited to products dyed and spun on the island and hand-woven in the artisans’ homes. Tweed’s establishment process, which is based on the existence of the Crofter.

 

 

 

 

 

 

 

 

 

島で島民が身に着ける物で自給出来たのは、島の気候でも育てられた亜麻(リネン)や麻(ヘンプ)と、羊の毛を利用した織物だけ。真夏でも最高気温が17度前後という寒冷な気候では、1年を通して羊毛で作った衣服は欠かせず、着るものを自給するために家々がそれぞれ羊毛から糸を紡ぎ、自分達で織物にする技術と伝統を育むことが自然な流れ。

The only materials that the islanders were able to produce for themselves were flax (linen) and hemp, which were grown in the island’s climate, and textiles made from sheep’s wool. In the cold climate, where the maximum temperature is around 17 degrees Celsius even in the middle of summer, woolen clothing is essential throughout the year, and it was natural for each family to develop the skill and tradition of spinning wool into yarn and weaving it themselves in order to be self-sufficient.

 

 

 

 

 

 

 

 

 

毛足の長い羊毛を梳き集めて撚られた、しなやかでやわらかな梳毛(ウーステッド)と対極的な風合いが持ち味の、粗雑で短い羊毛繊維を主体とした紡毛(ウールン)で作られるツイード。厳しい自然に囲まれた北大西洋に臨むアウターヘブリディーズ諸島のハリス島(ルイス島)で織られるハリスツイードは、ドニゴール(ドネガル)やシェットランドといったアイルランドやイギリスの様々なツイード産地の中でも特別な物。寒冷で霧の多い厳しい気候の荒涼とした風景が続く島は、農業を産業にできるだけの収穫を阻む岩と泥炭地(ピート)に覆われ、痩せた土壌でも生える草でも飼育が可能な牧羊と、周りを取り囲む海での漁業だけが主な産業。

Tweeds are made from woolen fabrics, which are mainly spun from coarse, short wool fibers, and have a texture that is the opposite of that of worsted fabrics, which are made from long wool that is carded and twisted to be supple and soft. Harris Tweed, woven on the island of Harris (Isle of Lewis) in the Outer Hebrides, surrounded by the harsh natural environment of the North Atlantic Ocean, is special among the various tweed production areas in Ireland and England such as Donegal (Donegal) and Shetland. The island’s bleak landscape, with its cold, foggy climate, was covered with rocks and peat that prevented agriculture from producing enough crops for industry.

 

 

 

 

 

 

 

 

 

 

 

 

特に島の大事な産業である漁師達にとっては、厳しい海の自然条件から身を守るための仕事着が必要であり、水を弾き浸透させない為にも羊の毛の油分を脱いていない原毛を使い、暖かさを保ちつつ、織り目の隙間を埋める膨らみのある緬毛(ウール)と、張りと強さを出すための粗毛(ケンプ)を混紡した糸でガッチリと厚く、強く織られたハリス島のツイードは、島で暮らす人々の必要が生みだした島の第3の産業となった。

In particular, fishermen, an important industry on the island, needed work clothes to protect themselves from the harsh natural conditions of the sea. The tweed of Harris Island is made from raw wool that has not been stripped of its oils to repel water and prevent it from penetrating the wool, and is woven thick and strong using a mixture of wool that fills the gaps in the weave while maintaining warmth, and kemp for tension and strength. It is the third largest industry on the island.

 

 

 

 

 

 

 

 

 

野生の羊は外側を太く粗く長い「上毛(粗毛、ケンプ)」に覆われていて、その内側に産毛のような短く柔らかく細い「下毛(緬毛、ウール)」がある。ケンプで作られた糸は質実剛健な頑丈なものではあるが、決して着心地の良いものではなく、柔らかで暖かなウールの方が身に着けるには適している。しかし、羊が家畜化される以前はウールの部分は未発達で取れる量が少なく、利用出来たのはケンプがほとんど。やがて羊が家畜化されるに伴い、ウールを発達させるように品種改良が進められた羊からはケンプは退化し、換毛もなくなり、細く柔らかいウールに全身を覆われた究極の羊「メリノ」の誕生に繋がった。

In the wild, sheep were covered on the outside with thick, coarse, and long “upper hair” (kemp), and on the inside was the short, soft, and fine “lower hair” (burmese wool), like lamb’s wool. Yarns made of kemp are strong and sturdy, but they are not comfortable to wear, and the softer and warmer wool is more suitable to wear. However, before the domestication of sheep, the wool part of the fabric was underdeveloped and only a small amount could be obtained, and only kemp was available. As the sheep were domesticated, the breed was improved to develop wool, and the kemp part of the sheep degenerated, and the wool was no longer replaced, leading to the birth of the ultimate sheep, the merino, which is covered with fine, soft wool.

 

 

 

 

 

 

 

 

 

織られた生地に残っていた原毛に含まれる油分が、時間の経過と共に抜け変化した少しパサついた触感はヴィンテージのツイードだけが持ち、時間を経なければ手に入らない物。

The oil in the raw wool that was left in the woven fabric has been lost over time, and the slightly dry texture is something that only vintage tweed has.

The slightly dry texture is something that only vintage tweeds have and can only be obtained through time.

 

 

 

 

 

 

 

 

 

手紡ぎに近い方法で糸を紡ぎ、通常(150cm)より幅の狭い(90cm)の織機で織り上げた、しっかりした生地は

今では望み得ないヴィンテージツイードの本来の姿です。

The yarn is spun in a way similar to hand spinning, and woven on a loom that is narrower (90cm) than normal (150cm).

This is the original form of vintage tweed, which is impossible to find nowadays.

 

 

 

 

 

 

 

 

 

ダークなオリーブグリーンと深いブラウンのベースに、スモーキーながらも明るいトーンのブルーが効いたグレナカートプレイドの生地。英国の暗く厳しい自然に溶け込むのではなく、対峙するために生まれたものであるかのような80年前のものと思えない垢抜けた色合い。

The fabric of Glenacart Plaid has a base of dark olive green and deep brown with smoky but bright tones of blue. The solid coloring is so solid that it does not seem 80 years old, as if it was created to confront rather than blend in with the dark and harsh nature of the UK.

 

 

 

 

 

 

 

 

 

前身頃のヘムに丸みを加え、肩のフォルムを調整し、コバのステッチを全て解いて、ヘムにふくよかな柔らかさを持たせています。

Rounding is added to the front hems, the shoulder form is adjusted, and all the edge stitching is undone to give the hems a fuller, softer appearance.

 

 

 

 

 

 

 

 

 

閉じられていた袖口は、生地を接いで変形の本切羽に作り変え。開けて折り返しても、現代的なニュアンスを醸し、着こなす楽しみを広げるポイントになりました。サイドベントも生地を接いで新たに作った手仕事だからこその、手縫い皺も美しい柔らかな仕様です。

The closed cuffs have been reworked into shaped surgeon’s cuffs by joining the fabric.

Whether opened or folded back, they create a modern nuance and add to the enjoyment of wearing the garment. The side vents are also newly made by hand by joining the fabric, and the hand-stitched wrinkles are beautiful and soft.

 

 

 

 

 

 

 

 

 

元からあったボタンホールも糸を解き、全てかがり直したハンドホールです。3倍に増やしたボタンが作り出す普通のようで普通ではない表情。

The unusual look created by tripling the number of buttons.

 

 

 

 

 

 

 

 

 

ボタンはさまざま色と形のものをランダムにチョイスした、vintageやantiqueのcorozo(主にエクアドルのタグワ椰子)。その実の種子の中の胚乳部分を加工して作られた趣のあるボタン。

19世紀から1950年代のプラスティック開発以前に、滑らかな手触りと硬さ丈夫さ染色性の良さを利用して、盛んに作られていたボタン。

The buttons are randomly selected from a variety of colors and shapes of vintage and antique corozo (mainly Ecuadorian tagua palms). These quaint buttons are made by processing the endosperm inside the seed of the palm.

Before the development of plastics from the 19th century to the 1950s, these buttons were actively made to take advantage of their smooth texture, hardness, durability, and dyeability.

 

 

 

 

 

 

 

 

 

vegetable ivoryの呼び名通りの乳白色の実を削って加工される何とも言えない丸みと、乳白色のベースを染める事で生まれる優しい色合いの魅力。見た目に反してしっかりした質感と重みを兼ね備えた、味わい深さを持ったボタンです。

As the name “vegetable ivory” implies, this button has an indescribable roundness created by shaving milky white berries, and the charm of the gentle coloring produced by dyeing the milky white base. Contrary to its appearance, this button has a solid texture and weight, and has a deep sense of taste.

 

 

 

 

 

 

 

 

 

キュプラのライニングと取り替えた、ラスティックなコットンブロードは、適度な張りとシワ感が有り、インドで織られた素朴な糸の表情が魅力です。手でまつりつけたライナーの生地感と色のコントラストと清潔感。柔らかな縫い皺は、手仕事ゆえのふくよかさ。

The rustic cotton broadcloth, which has been replaced with cupro lining, has moderate tension and wrinkles, and the rustic look of the yarn woven in India is attractive. The hand-patted liner gives the fabric texture, color contrast, and clean feeling. The soft stitching and wrinkles are the result of handwork.

 

 

 

 

 

 

 

 

 

全体に散りばめられた擦り切れや破れなど多くのダメージを示す持ち主の愛着と愛用の印。そのダメージに施したPatchとDarning、wrap around stitchよる魅せる補修。

The owner’s marks of attachment and love are shown in the many damages such as wear and tear scattered throughout the entire piece. The damage is repaired by Patch, Darning, and wrap around stitching.

 

 

 

 

 

 

 

 

 

フラップ裏やポケット袋布もラスティックコットンにとりかえて、コントラストと動きと清潔感のある豊かな表情。

作り替えたポケットの袋布は、長年溜まってこびり付いていたた正体不明の埃を除き、アクセントを与えます。

Vintageにありがちなポケットの隅にこびりついた得体の知れない残り物・・裏地の脇のやネック辺りの変色、流れた時間の贈り物とは呼べない物は、取り除くのが基本です。

The flap lining and pocket pouch fabric have also been replaced with rustic cotton for a rich look of contrast, movement, and cleanliness. The new pocket pouch fabric removes the unidentified dust that has accumulated over the years and gives an accent to the pockets. The basic idea is to remove the unidentifiable remnants stuck in the corners of the pockets that are common in Vintage, the discoloration on the sides of the lining and around the neck, and anything else that cannot be called a gift of time.

 

 

 

 

 

 

 

 

 

現代では再現不可能なものを、ただ「希少で貴重で古いもの」という魅力以外に、古いけれども古びない1着へ。

紙の上に描いたり、コンピューターの画面の中からは、決して生まれる事のないリアルな時間と偶然と手のみが作り出せたもの。

What is impossible to reproduce in the modern age is made into a piece of clothing that is not only attractive as “rare, precious, and old,” but also old but never old.

Only real time, chance, and hands can create something that can never be created on paper or in a computer screen.

 

 

 

 

 

 

 

 

サイズ 1(Equivalent to JPN =S, EU=44, UK=34, USA=34)

肩幅 =42cm (17in)

バスト=50cm(脇下)  (20in)

袖丈 =60 cm  (24in)

着丈 =72cm  (29in)

英国/日本製

Outer Fabric = Old Scottish Harris Tweed / Wool100%

Lining Fabric = Indian Rustic Cotton Broad / Cotton100%

Buttons  = Vintage & Antique Corozo button ( Random Choice)

                   & Antique Fabric Covered Button

 

STOREへのリンク

 

 

1940-1950 Vintage  Lots of Patch and Darning Jackets Made of Old Harris Tweed Hand Woven Especially for “Dunn & Co.” 

[ALTERATION By Manure of Drawers]   SOLD