Lots of Patches and Darning Gris de Travil Old Work Jacket

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1930-1940 Vintage Lots of Hand Patches and Darning Gris de Travil Fabric Old French Work Jacket

もともとは働く人たちにとっての上っ張りとして、汚れの防止や機能性だけを考えて作られたはずのワークジャケット。

しかしフランスで作られた物は、実用一点張りで無骨な物が大半の英国やアメリカの物とは趣の異なる素材感やシルエットと機能性を重視しながらも、そこかしこに散りばめられたフランスの粋と機能的装飾デザインの素晴らしさから現代にも通用する別格のものを確立させています。

Work jackets were originally made as outerwear for working people, with the sole consideration being given to preventing dirt and functionality.

However, those made in France have a different feel to them than those in the UK and US, most of which are rugged and practical. While they emphasize functionality, the French chic and wonderful functional decorative design sprinkled throughout them have established them as something in a class of their own that is still relevant today.

緯糸がブラックで経糸が白と黒のメランジ糸で織られ、白色と黒色が入り混じった色合いの生地からフランスで、“GRIS de Travail” (グレーの仕事着)と呼ばれるワークウエア。

This workwear is called “GRIS de Travail” (gray workwear) in France because of its mixed color of white and black, woven with black weft yarn and black and white warp yarn melange.

80年ほど前に作られこの1着は、経てきた長い時間を取り込んだ風合いと、着込まれた涸れた色合いが深みを加え、愛用のしるしのダメージが辿ってきた時間を色濃く映し出しています。

This piece was made around 80 years ago and has a texture that has absorbed the passage of time, with the faded colour adding depth to the garment and the damage that is a sign of well-worn wear vividly reflecting the time it has gone through.

そのダメージに生地を上に被せてpatchするのでは無く、象嵌細工のように生地をくり抜きながらモザイク状に生地をpatchしていくフランス独特のpatch work=travail de patchだけが描き出せる不思議な魅力。

Rather than simply covering the damage with fabric and patching it, the fabric is cut out like inlay work and then patched in a mosaic pattern, creating a mysterious charm that can only be achieved by the unique French patchwork method known as travail de patch.

5mm以上ものピッチで太い糸を刺す刺し子や、ミシンで生地を叩きつけるパッチワークとは全く違う、静かな大人のpatch work。

Quiet adult PATCH WORK, quite different from stitching with thick threads at a pitch of 5 mm or more, or from patchwork, where the fabric is beaten with a sewing machine.

普通の何倍もの時間をかけて、一つ一つのパーツを1mm~1.5mmの細かなbrind stitchで縫い上げて繋いで描いた象嵌模様。

The inlaid pattern is drawn by stitching and joining the individual parts with a fine brind stitch of 1 mm to 1.5 mm, taking many times longer than usual.

複雑に布の重なりの組み合わさったpatchは、ミシンでは無く、手で縫うからこその表情。

The intricately layered fabric patches have a look that can only be achieved by sewing by hand, not with a sewing machine.

patchされた生地の色の控えめなコントラストとちゃんと縫われた端々は、切りっぱなしの生地を貼り付けたpatchや、派手な色や柄の即興的なpatchとは、全く別の世界観です。

The subdued contrast of the colors of the patched fabrics and the properly stitched edges are a completely different worldview from patches that are just cut and pasted fabrics, or improvised patches with flashy colors and patterns.

brind stitchで縫うからこその縫い目に見えるステッチの色による控えめな彩。

Discreet colouring due to the colour of the stitches visible in the seams because they are sewn with brind stitch.

一度解体し、ダメージを古いリネン生地などで補修した後に、裏に生地を縫い合わせ、それをもう一度手で内縫いすることで縁を浮かせて立体的に再表現。ぷっくりとしたフォルムと、縁から覗く裏地の生成りが軽さと動きを与えます。

After dismantling it and repairing the damage with old linen fabric, fabric was sewn to the back, which was then hand-stitched again to give it a raised edge and create a three-dimensional look. The plump form and the off-white lining peeking out from the edge give it a lightness and movement.

このころのフランスの仕事着によく見られる、衿を1枚で作らずに強くカーブした2枚のパーツを継いだ、身頃に沿う形のフラットながらもボリュームのある衿。この衿も立体的なパターン発想が作り出したフランスならではのもの。

The collar, often seen in French workwear of this period, is not made of a single piece but is made of two strongly curved parts that are joined together to form a flat but voluminous collar that follows the body. This collar is also a uniquely French creation of a three-dimensional pattern conception.

インディアインク染のリネンで作り変えた裏襟。ステッチと身頃へ止め付けるハンドステッチのレッドとのコントラスト。

Back collar made of India ink-dyed linen. The contrast between the stitching and the red of the hand stitching on the body.

ボタンはさまざま色と形のの2種類のサイズをランダムにチョイスした、vintage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 vintage corozo (mainly from the tagua palm of Ecuador) randomly selected in two sizes and in a variety of colors and shapes. These tasteful buttons are made from the endosperm inside the seed of the palm.

Before the development of plastic in the 19th century to the 1950s, buttons were actively produced, taking advantage of their smooth texture, hardness, durability, and good 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.

元からあったボタンホールも糸を解き、全て手縫でステッチし直したハンドホールです。数を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 original buttonholes are also hand-holed, with all the threads untied and re-stitched by hand.

The buttons, whose number has been tripled, create an ordinary but unusual look.

ハンドステッチでのライニング。手の温もりではなくストイックさを伝える不揃いなステッチ、縫い皺の表情や生地のコントラストが乾いた奥行きを作り出します。

Lining with hand stitching. Uneven stitching that conveys stoicism instead of hand warmth, the expression of stitch wrinkles and fabric contrast create a dry depth.

ミシンで縫えば数分の仕事に、その十数倍の時間をかけたことの意味は、きっとあるはず。

Blind stitching by hand to sew the linings together. It must be meaningful that we spent more than ten times as much time on a job that would take only a few minutes if sewn with a sewing machine.

「汚れが目立たない」という理由だけで採用されたのだとは信じられないほど完成された色合いと風合い。

“The color and texture are so perfect that it’s hard to believe that it was adopted just because it doesn’t show dirt.

着込んでいくことで進化した時間を映す水墨画のような陰影をは、これからもますます深い姿となる日が楽しみを秘めています。

I look forward to the day when the shade like ink painting reflecting the time evolved by wearing it will become deeper and deeper in the future.

テーラーワークを基本としたパターンメイクと縫製が、「ファッション」と対極の位置にあるはずの「仕事着」を、様々なメゾンやデザイナーがモデルとする高みに今も位置付けます。

Patternmaking and sewing based on tailor’s work positions “work clothes”, which should be the opposite of “fashion”, at the height that various maisons and designers use as a model.

ファッションとは無縁のはずの世界である仕事着に込められた、フランスのセンスが、多くの愛好家を生み、惹きつけ続け、お手本となり続ける、フランスというモード発祥の地が培った“ ファッションの原点 ” が生み出したワークウェアの到達点の一つです。

The French esprit and sense put into workwear, which is a world that should have nothing to do with fashion, has given birth to many lovers and continues to attract them, and continues to be a role model. It is one of the achievements of workwear.