Mid 20th Century French Dead Stock Vintage Gingham Plaid Linen made Over Shirt

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Mid 20th Century French Dead Stock Vintage Gingham Plaid Linen made Over Shirt

羽織ってもボタンをとめてもさまになる、少しルーズなリネンのギャザーシャツです。長めのハーフスリーブとドローコードの潜む裾。コードを絞って遊んだり、袖の長さで遊んだり。アウターの顔を併せ持つ、着る人のアレンジ次第のさじ加減が見せ所の1着です。

A slightly loose linen gathered shirt that can be worn as a woven or buttoned up shirt. It has long half sleeves and a hem with a drawcord. Play with the cords or play with the length of the sleeves. It is a dress that has the face of an outerwear, and the degree to which the wearer arranges it is the key to showing it off.

生地は1950年頃のフランスの素朴なリネン。栽培も紡績も製織もすべてフランス国内で行われていた頃のもの。今では国をまたいだ分業化が発達したリネン産業では、栽培、紡績、製織は別の国で行われることがほとんどです。全世界のリネン原料の亜麻(フラックス)の75％～80％を産出するフランスでも、栽培以外の工程は国外で行われ、このようにすべてをフランス国内で行ったリネンは貴重になってしまいました。

The fabric is a rustic French linen from around 1950. It is from a time when cultivation, spinning, and weaving were all done in France. Nowadays, the linen industry has developed a cross-country division of labor, and cultivation, spinning, and weaving are usually done in different countries. Even in France, which produces 75% to 80% of the world’s flax (flax), all processes other than cultivation are carried out outside the country, and linen produced entirely in France has become precious.

様々な色の組み合わせの中でも、とりわけフランスらしさが感じられる生成りと赤のギンガムチェック。この生地を見ると、ギンガムの発祥はマレー語の「Genggang」ではなく、フランス北西部、ブルターニュのイギリス海峡に臨む田舎町Guingampなのだという説に1票を投じたくなります。

Among the various color combinations, the green and red gingham check is particularly French. This fabric makes me vote for the theory that gingham did not originate in the Malay word “Genggang” but in Guingamp, a country town on the English Channel in Brittany, northwestern France.

まだまだ手の仕事と職人の勘が多くを占めていた時代のリネン。素朴な表情に味のある糸で織られた柔らかな顔つきのGingham Plaid。

Linen from an era when much of the work was still done by hand and craftsman’s intuition. Gingham Plaid has a soft face woven with threads that have a rustic look and taste.

私たちのStandardはいつも、ひねりの入ったベーシック。このシャツのベースも、ミシンのステッチを極力表に出さない仕様。

Our Standard is always a basic with a little creativity. The base of this shirt is also made with as few machine stitches as possible.

ミシンステッチが出ているのは右身頃の前立てと裾のみで、台襟の付け根も押さえのステッチは行わずに手でまつっています。

台襟、上前立、袖口の裏はグレーのメランジのフレンチリネン糸のハンドステッチ。表にポツポツと頭だけをのぞかせる、表情豊かな小さなステッチ。

Sewing stitches appear only on the right front and hem, and the base of the collar is hand-stitched without any holding stitches.

The back of the collar, top placket, and cuffs are hand-stitched with gray melange French linen thread. The small, expressive stitches on the front show only the heads of the stitches.

普通シャツには使わない内縫い仕様のポケット。緩やかな膨らみは、普通の仕様では作り出せない無いもの。少し大きめのサイズで、ポケット口はリネン糸のハンドステッチ、手縫いでとめ付けています。

Pockets with internal stitching that are not normally used for shirts. The gentle bulge is something that cannot be created with ordinary specifications. The pocket opening is hand-stitched with linen thread and hand-stitched.

襟は、ステッチの無いリラックスした柔らかな表情のラウンドカラー。

The collar is a round collar with a relaxed, soft, unstitched look.

風をはらむたっぷりと分量のある背中。

The back of the garment has plenty of volume to catch the wind.

肩も脇も袋縫い。ステッチを表に出さない為の少し面倒な工夫です。

The shoulders and sides are sewn with bag seams. This is a slightly troublesome device to keep the stitches from showing.

ドローコードを絞ればよりアウター感が増し、着る人次第の遊びにあふれたシルエット。

The silhouette is full of fun, depending on the person who wears it.

裾のシームには、手縫のガゼット。

Hand-stitched gussets at hem seams.

ボタンはランダムにチョイスしたフレンチヴィンテージのガラスボタンです。有名なチェコやベネツィアの物のように凝ったデザインや、カラフルな色使いの装飾的で高価な物だけではなく、庶民や労働者にむけた実質的なシンプルな形がたくさん作られて浸透していたフランス特有のもの。

The buttons are randomly selected French vintage glass buttons. They are not elaborately designed, colorful, decorative and expensive ones like the famous Czech or Venetian ones, but rather the ones peculiar to France, where many substantial and simple shapes were made for the common people and workers, and penetrated the market.

白濁したミルク色のヴィンテージとアンティークのガラスボタンは、プラスティックがまだなかった頃に、骨や角、貝や金属よりもずっと安価で大量生産ができた、フランスならではのものでした。ランダムに並べた不揃いな色と形もアクセント。

Vintage and antique glass buttons in a cloudy milk color were unique to France, when plastics were not yet available and could be mass-produced much more cheaply than bone, horn, shell, or metal. Randomly arranged mismatched colors and shapes also accentuate the piece.

今もこれからも新しく古びない、洗い晒しがつくるしわ。ただ、きれいなだけじゃなく、ラフなだけでもない。言葉にできない味のあるもの、それがMANURE OF DRAWERSの考えるSTANDARDのカタチです。

Wrinkles created by washed and bleached clothes, which are new and will never get old, now and in the future. It is not just clean or rough. It is something with a taste that cannot be put into words, and that is MANURE OF DRAWERS’ idea of STANDARD.