SOLD
1960’s Vintage Old French Tailored Jacket Made of Harris Tweed with ALTERATION Hand Seam Stitching
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70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 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.
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).
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.
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。
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.
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.
Harris Tweedは自然に溶け込む素朴な色合いがほとんど。しかしこの1着はブラックとチャコールやミックスグレーの奥にグリーンを潜ませたモダンさ溢れる色合いで織り上げられたヘリンボーン。フランスのセンス溢れる、複雑で奥深いく柔らかなツイード。
Most Harris Tweed comes in rustic shades that blend in with nature. However, this one is a herringbone woven in modern shades of black, charcoal, and mixed grays with a hint of green. A complex, deep, and soft tweed with a French flair.
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.
サイドや袖の縫割りの縫い目の一部に施した手縫のステッチ。素朴な糸の風合いを求めてチェコから取り寄せた糸のソフトな風合い。
Hand-stitched stitches on some of the side and sleeve seam allowances. Soft texture of thread imported from the Czech Republic for its rustic thread texture.
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.
フラップの周りに手縫で加えたベルベットのリボン。
Velvet ribbon added by hand stitching around the flap.
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。
The original buttonholes are also hand-holed, with the threads unraveled and all re-covered.
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.
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 2（Equivalent to JPN =M, EU=46-48, UK=38-40, USA=38-40)
肩幅 ＝46cm (18.5n)
バスト＝56cm(脇下) (23in)
袖丈 ＝62 cm (24.5in)
着丈 ＝74cm (29.5in)
英国／日本製
Outer Fabric = Old Scottish Harris Tweed / Wool100%
Lining Fabric = Indian Rustic Cotton Broad / Cotton100%
Buttons = Buffalo Horn Button
& Antique Fabric Covered Button
STOREへのリンク
1960’s Vintage Old French Tailored Jacket Made of Harris Tweed with ALTERATION Hand Seam Stitching
[ALTERATION By Manure of Drawers] SOLD
