Vintage Lots of Patch and Darning Jackets Made of Old Harris Tweed

Vintage  Lots of Patch and Darning Jackets Made of Old Harris Tweed




1950-1960 Vintage  Lots of Patch and Darning Jackets Made of Old Harris Tweed





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.











Take, for example, the texture of the fabric of this jacket. I think that the fabric production such as spinning and weaving 70 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.











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.














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…











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).










Harris tweedを作り出したスコットランドの島嶼部に残る小作農(Crofters)は、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。

The Crofters, who created the Harris tweed, are a community of Scottish island crofters who were evicted from their homes and forced to live on the wastelands of the islands after the failed 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。

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 handicrafts was hand-woven textiles, which gave birth to Harris Tweed, a specialty product of the island.










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の成立過程が、今も遵守されている。

Harris Tweed’s strict standards, which require dyeing and spinning to be done on the island and hand-woven in the weaver’s home, are still observed today, as is the process of establishing Harris Tweed, which was only possible because of the existence of the Crofter.














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.











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 has been 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, and harsh climate, is covered with rocks and peat (peat) that prevent agriculture from yielding enough to make it an industry. The only major industries are sheep farming, which can be done on grass that grows even in poor soil, and fishing in the sea that surrounds the island.











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.














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.











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.














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.











The herringbone is woven in various medium and khaki browns and mixed grays, with oyster and gray stripes intertwined in a complex and deep color scheme.











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.











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.











The original buttonholes are also hand-holed, with the threads unraveled and all re-stitched. The unusual look created by tripling the number of buttons.
















The buttons are randomly selected from a variety of colors and shapes of vintage  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.











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.













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.












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 =61 cm  (24in)

着丈 =70cm  (28in)


Outer Fabric = Old Scottish Harris Tweed / Wool100%

Lining Fabric = Indian Rustic Cotton Broad / Cotton100%

Buttons  = Vintage  Corozo button ( Random Choice)

                   & Antique Fabric Covered Button






1950-1960 Vintage  Lots of Patch and Darning Jackets Made of Old Harris Tweed

[ALTERATION By Manure of Drawers]   SOLD