As I mentioned in a recent post, a long period of travel has forced me to choose which small percentage of my wardrobe I want to squeeze into a single suitcase. The most difficult choice of all is which overcoat to take, because there can be only one. A second would take up half of my suitcase. So I am limited to the one that I’ll wear on the plane.
When you think of mohair, you might think of crisp, vibrant worsted fabrics like Dormeuil’s Tonik blend made famous by Michael Caine in Get Carter, or the Smith’s version often used for tuxedos. That’s certainly a part of mohair’s identity - its stiffness prevents wrinkles and allows trousers to hold on to a crease like Wilson Phillips holds on to their fifteen minutes of fame (they’re still going!). In an open weave, mohair blends wear cool, which is why it’s often worn in summer.
In the late 80’s, a group of Belgian designers, all graduates of the Antwerp Royal Academy of Fine Arts, showed up in London with a van packed full of their garments and more or less turned fashion on its head.
I wrote last week about clothes that contrast with what everyone else is wearing – that is, clothes that are non-conformist. This post is instead about contrast within your own outfit – specifically, contrasting lightness of color.
Symmetry is often suggested as a cardinal virtue of aesthetics. Since symmetry is very unlikely to occur at random, its presence suggests skillful execution of a design. When something is asymmetric, it might be unclear if this is a design choice or a failed attempt at symmetry. You might, for instance, be more sure of the structural integrity of a symmetric building than an asymmetric one.
Archaeological records suggest that the ancients were weaving linen before they moved out of caves. But it has always been a laborious task. The use of linen way back when is a testament to the patience of our ancestors.
In Part 1, Stephan Schneider talked about Floating Inflations, his design process, and his design ethos. Today he discusses the new consumer, the role of the internet, and the crazy things he has in his own wardrobe.
Antwerp-based Stephan Schneider’s quiet, sophisticated collections are a No Man favorite. I talked to him about Floating Inflations, his collection for Spring/Summer 2014, and many other things, ranging from fabric design to his place in the fashion industry. It’s a two-parter, so don’t worry - there’s more to come