Category: Fashion

Isaac Hers – Fall 2012

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It’s been a fashion drought ever since the boom of the holidays. Like the Sahara desert, and Isaac Hers’ Fall 2012 fashion show is the watering hole we’ve all been waiting for. And when I say we, I mean Eden Dawn who takes her front row seat with a pen and pad in hand, Sami Boyle of Portlandlookbook, and Ashkan of dayafterpdx, who has photographer Jaycob set up beside me. Nicholas Peter is here with his muse Zoe, and his mentor Levenda is somewhere to be found. Meanwhile Mike Andersen and his Woodlands crew circulate the room waiting for this triple-feature fashion show to begin. Pale light comes through the windows of the warehouse space that Jillian Rabe found to throw the party and show. The space has some of my favorite features for creating pageantry in the city, like the busy one-way street outside where motorists roar their engines past the crowded sidewalk while everyone begins to push inside.

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The show begins with mist billowing from the runway, and we see Barbara Seipp’s new Fall 2012 looks. New looks, yes, but also some familiar ideas which have been proven in past collections. Like the maxi-length silhouette that Seipp has made into somewhat of a science,  a silhouette that defines her iconic Diablo skirts and now reincarnates for Fall as a long maxi jacket with slim fitted sleeves, wide peaked lapels that lie subtly flat, and a midnight blue lining that flitters to be seen. The two lobster claw clasps make the hourglass-shaped front opening possible.

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As far as models, Kate and Meredith need just step out for a second to remind everyone that it’s their classic look and flawless runway performances that allow them to dominate the Portland indie scene. Meanwhile, Zoe seems to be the newest standout, walking in Solestruck shoes and sporting some of the earlier Isaac Hers spring collection and doing it so well that someone may wonder why she wouldn’t be in future lookbooks. And I’ve yet to mention all the guys walking for The Woodlands who, needless to say, killed it.

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Seipp’s shirt dress also covers a lot of ground. It’s topped with a wide soft collar, then midway there’s no cinch to be found, just a natural waist with a straight drape that terminates in a slight high-low hem (I just stole that term from Ashley, thanks!). I’d still like to see this dress up close because I couldn’t quite make out the stitch that lines and decorates the hem; also I’d like to see the triangle stitch where the collar closes because I think it’s a great detail to showcase on an otherwise streamlined garment.

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The last detail I’ll mention is the use of  ”baseball tee” constructed sleeves on the blue-black maxi and the sand/copper blouse. On the maxi (below), the black sleeves crop the silhouette change the shape of the torso, which really makes the face pop. The effect is more subtle on the sand/copper top (above), but the blocking effects from the sleeves are tremendous as the garment becomes geometric and broken up, but at the same time remains clean around the shoulders. What makes the sleeves a different color? Is it right way/wrong way, or is the bias faced differently? I can’t tell from the picture, but it adds a great shape to the shoulders.

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Ashley of 52 Dresses

Ashley and I finally collaborated on some photos for her website 52 Dresses Project. We hid from the rain under St. John’s Bridge on an especially wet day. Dress #14 is a white dress with a hemline cutting just above the knee, a few pleats on the front, and a geometric design on the neckline. Take a look at her website to see her previous dresses and the great photos taken by her husband Tyler (especially dress #2 on a ferry in Washington!).

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When did you start making patterns, and where did you learn?

I started making patterns late last year when I enrolled in Intro to Patternmaking at Portland Sewing in the Hollywood District. I had no idea how to do it and had only attempted, poorly, before taking the class. There are 4 levels and I’m just finishing up the last one, I’ll be done in about 2 weeks. Along with that, I’m also finishing up my last draping class, which is another form of pattern making. It can be difficult at times, it really depends on what it is. Sometimes I get it right the first time, sometimes it takes me several times to get the look and fit that I’m going for.

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How did you come up with geometric piece on the front neckline? How is it attached?

On this dress, the shapes are hand sewn onto the neckline. I wanted to keep the dress simple, because I thought the fabric looked so natural, but I still wanted to have fun with it. The idea just kind of came to me and I just played around with it a bit until I liked it, and then sewed all the pieces on. I still wanted them to move a little, which is why I chose to hand sew them.

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What’s next? What are you going to do now to challenge yourself?

I’m not sure what’s next. I’m working on Dress #15, although it’s still in the pattern process. I have a lightweight denim that I really love and I’ve been wanting to make a denim dress for a while, so I’m excited about finally being able to do it! Every time I get an idea, I draw it out, but I always end up changing things when I actually sit down to start it. I think I need the stress a bit.

Jake Hollomon

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“Shirt is Gitman Vintage, got it at Union Made in SF. Waistcoat is from Epaulet in Brooklyn, ordered it off their web store.”

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“These are Mark McNairy New Amsterdam Brogues. They’re one of the few that he’s made in something other than suede, and they manage to wistande the rain pretty well.”

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“My 3sixteen jeans are from the Woodlands, they’ve been my favorite since I got them in May.”

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Maryanna Hoggatt

When I visited Maryanna and Jake to document their studio and living space, I also took some shots that really show their individual personal style.

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“The suit jacket is a great vintage score from Buffalo. The pin is a gift from a friend, who bought it in an antique store in Texas. I bought the red boots from a friend in his apartment in Tempe, AZ.”

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“I’d been riding a little moped for awhile when a lady friend of mine (and avid rider) approached me about the motorcycle.  It’s a 1974 Honda CL100. I couldn’t resist.”

“It’s a scrambler; the exhaust pipe is set higher off the ground than a CB so it’s meant for a little off-roading. I bought it with 1,000 miles on it, and my guess is that the original owner bought the bike for his wife, who never rode it.  I absolutely love it.”

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Reid Elrod – Part 2

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Back in Reid’s shop, he’s working on the “toe puff” or “toe box”, which stiffens the front of the toe for protection and maintains its structure and shape.

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And while he’s working, I come across a pair of sidelace oxfords (below) he finished a few weeks ago:

“It’s called a side lace, and it’s not very common but I like it a lot. That pair would technically be considered and oxford if you want to classify them, with a beveled waist. They are the simplest version of a side lace that I’ve done, and I wanted more emphasis on shape rather than pattern. The triangle stitch helps hold the tongue on the lining, and the heel is finished with a puzzle-piece lift. The construction is English welted, which is what the Goodyear machine was created to mimic. One problem about welting machines machine is that the needles cannot change direction, so two threads are used. When the welt is done by hand, there is one thread with two needles, one attached to each end, therefore creating a much stronger welt. Also, machine welts do not use a leather insole but instead use synthetics which is one of their greatest downfalls.”

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The decoration on the side of his Prince Albert loafers catches my eye. It was created using a decorative wheel pressed into the dense leather after the heel was constructed.

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On the underside of the heel there’s a nail pattern consisting of five carefully placed triangle pairings of nails. It’s a pattern of German descent, he tells me, and it reminds me that those seemingly-superfluous details are what make handmade shoes are so special; whether the wearer is climbing a set of stairs or sitting with their legs crossed on the MAX, those almost-hidden details reveal something their character.

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See Also:

Reid Elrod Shoes Part 1

Reid is currently making shoes starting at $700. If you are interested in having a pair of bespoke shoes made for you please send your information to marrowmag at gmail dot com and I will pass it on.

Reid Elrod Shoes

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I’m in Reid Elrod’s basement studio and he’s telling me about the tools and machines that lay around us. Everything has a story behind it. First, he shows me a pair of metal tools that he received from his mentor and master shoemaker, Marcell Mrsan. After acknowledging his need for a teacher in order to move forward with his shoe making, Reid attended Marcell’s 5-week workshop in Budapest. During this stint in Hungary, Reid picked up a skiving knife and channel knife, both reproduced for Marcell from some older knives from 1939 Sweden, and both made from 56 rockwell steel.

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Then there’s the Consew sewing machine and a Landis sole cutter, which Reid picked up on two separate occasions in Los Angles. Machines used for leather work and shoe making are rare these days, Reid tells me, so he keeps his eye open on Craigslist for uncommon finds that shave hours off his production time.

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The skiving machine is a major time saver. Each piece of leather needs its edges thinned so that it can be easily sewn to another piece of leather, creating a smooth seam. By hand, slicing small strips away from the width of the leather is atime consuming process, so Reid picked up the skiving machine from an Armenian couple in LA.

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Some skiving can’t be done by machine, like the leather for the toe puff for a pair of 2-inch heels he is making for his mother, so he holds a marble plate between his legs and thins the piece of leather by hand. Using a a curved knife, one of the two tools he brought home from Hungary, Reid cuts toward himself and shaves thin the leather.

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Reid’s uppers are made from chrome tanned leathers, which stretch nicely, retain dye, and age well. He generally uses JR Rendenbach soles, which are made in Germany. The Rendenbach leather spends up to 9 months bathing in oak tanning fluid, resulting in a very breathable, very durable  sole. The inlaid wool is an English cashmere found at B. Black & Sons in Los Angeles.

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As he works I look around and see blue lasts in every corner of the room. “When I first started making shoes I bought some wood lasts from Oregon Leather and they are perfect because they are so anatomically correct, but I haven’t been able to find any more,” he tells me, “so most of these lasts are plastic and they come from Mexico. They are high density and I have to use a grinder and a hack saw to shape them up, but they work great in the end and last forever.”

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“If I made a ready-to-wear line, I’d have the proper lasts made up for me for each size. Those lasts would be made to fit the shape of foot for the most amount of people. But for now I create a custom last each time I work with someone new.”

Reid is currently making shoes starting at $700, so if you are interested in having a pair of bespoke shoes made for you please send your information to marrowmag at gmail dot com and I will pass it on.

See Also:

Reid Elrod Shoes Part 2

Adam Arnold & Anthony Parrish Leather

Imogene + Willie – Initial Fit

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I picked up this pair of Imogene + Willie jeans last night from Jarom at Reveille. I chose them for their near-perfect fit, and the great  aesthetic of the husband/wife duo who make them in Nashville, but I’m starting to love them for all the details I’m now noticing. I love the subtle green bar tacks, and the lack of a branding patch is a plus; the only maker’s mark is an orange X on the right seam. Also, there aren’t any arcuates on the back pockets so the overall look of this jean is minimal and modest.

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It snowed at the vineyard today so we decided to do some pictures outside. The belt is Tanner Goods, the chain goes to my pocket watch, and the parka is a Penfield from Mike at the Woodlands.

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I’m looking forward to more honeycomb fading behind the knees than I experienced with my last pair of jeans, which weren’t as slim. That last pair is in for some repairs. They underwent some staining and wear from sorting grapes, tending to burn piles, and kneeling on the pavement during a few outdoor shoots. They’ve been retired to my ‘weekend jean’, and I’ll post some pictures of them as soon as I get them back.

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Photos by Mark Stock

See Also:

Reveille Store & Jarom at Reveille & Selvege Denim Around Portland

 

Revel in Reveille

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Since we took this photograph, Jess and Camille have gotten engaged, launched their new website, and brought into their shop some exciting new lines (WHiT, Imogene + Willie, new Opening Ceremony). Nice.

Adam Arnold’s Fall 2011 Show

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Bags of water, suspended from the ceiling of Adam Arnold’s two-story high studio space, leak drops like rain onto the runway below. Adam’s models splash down the watery path dressed in his Fall/Winter 2011 collection.

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See Also:

Adam Arnold’s Spring 2011 Collection

CONTENT 2011 at the Ace Hotel

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I walk down the 2nd floor hallway of the Ace Hotel early in the Saturday evening and the conversation lingering at the end of the hall is about the size of the ax in room 228; I know right away I’m reaching the Tanner Goods display. There is a pile of freshly tanned hide resting next to an old American flag stretched against the back wall. Their new cast silver tie clip with interchangeable leather center strips (to avoid a color clash) is suitable for any logger-turned-lawyer.

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Also making a presence in the leather accessories field is Draught Dry Goods, a recent transplant to Portland from Missoula, Montana, presenting an impressive show in room 208. Not wasting anytime to win over the detail-conscious Portland crowd, the custom sewn leather handlebar grips branded with “Content 2011″ are the show stopper.

In fact, all of room 208 is filled with wish list items including a waxed canvas weekender bag built tough enough to tackle any adventure and the tan leather Olivier Camera Strap with brass detailing that instantly classes up any camera. Draught Dry Goods owner, Caesy Oney, christened his Portland workshop with the camera strap two months ago.

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Each room for Content was uniquely designed, some of which totally abandoned the hotel room décor, like dress designer Sarah Seven, whose elegant examples of her Spring 2012 Bridal Collection were breathtaking against a pitch black backdrop. Pictured is the beautiful Bethany Gosvener wearing the “Practically Perfect” wedding dress.

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Other note-worthy rooms include the strobe-light shower party room of REIF and the Duchess Clothier party aftermath in room 220 where articles of clothing were hastily discarded amongst piles of condom wrappers, empty cigarette boxes, and cold pizza; all tied together with a note written in red lipstick on the shower wall giving thanks for the good time.

Words and photographs by Ryan Donaldson

Secret Garden – Mister Freedom and Samantha Pleet

Somewhere along NW 23rd, Jess and Camille veered off and found this beautiful garden.

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Camille is wearing the Samantha Pleet Castaway Romper in white, and Luxury Rebel Sakura Pumps in deep taupe.

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Jess is wearing all Mister Freedom with Marc Jacobs boots. The pants are the Pantalon Ouvrier, “workman’s trousers”, from the Spring 2011 Les Apaches line. They’re in Indigo Rayure fabric, which is “8 oz. indigo/white  warp and black weft striped twill, herringbone weave, white selvedge, un-sanforized (respectfully lifted from a late 1800′s swatch of french textile)”. Here are the other details that I lifted straight from the MF website:

Inspired but late 1800′s – 1900′s French military bourgeronstrousers (often made of HBT natural colour linen) and early French workers garb, our Pantalon Ouvrier falls into the “denim” part of the collection. Both fabric options are inspired by early French workwear textiles, then the Old World equivalent to American denim. The silhouette is reminiscent of turn of the century imagery, a slimmer type fit, narrower legs with a higher rise.

The buttons are Original MFSC Corozonatural wood buttons. (aka “vegetable ivory”, corozo buttons where an hi-end option for suiting from the 1900′s to 1940′s). “MFSC déposé” engraved buttons combination. The trousers come with matching fabric removable suspenders, inspired by overalls straps.

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Reveille recently did a collaboration with Julian Boot, and Camille brought in WHiT‘s Fall collection.

See also:

Reveille, Fine Clothier – An Opening Celebration & Reveille Store Opening

WWII Bomber Jacket – Reveille & Jarom on NW 23rd

Matt at Wood & Faulk

When I visit Matt Pierce I am most interested in hearing about the D-ring belts he made for Darian’s store at Free/Man. The ring belts are made of vegetable tanned leather from Hermann Oak Leather, and utilize d-rings which have a flat side so the leather doesn’t bunch up. The leather is English bridle, so the back side appears soft and finished when it doubles back. The belts can be found at the Free/Man shop.

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Matt first made his first set of belts a year ago for his “belt project”, during which he sold several belts at cost and the recipients each documented how their belts looked after six months of wear.

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If you watch this video about the belt project, you’ll notice Matt uses a hand tool to bevel the belt’s edges. This took was time consuming and initially turned Matt off from making belts for sale on his store, but since then he’s upgraded to the edge finisher that’s pictured above. He pulls the belt through and it shaves the edges smooth in one pass.

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After deliberating over the design of white stitching, Matt settled on the design pictured above.

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One of the first places I found Matt’s projects was on his friend Victoria’s website SF Girl By Bay. She really drew my attention to the home improvement projects he’s undertaken to convert his tiny 103-year-old house into a unexpectedly stylish hideaway.

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An ax and custome leather ax holder hanging on an antler from Portland-based Antler & Co.

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Matt shows me the Kubb project that will become his latest submission to Design Sponge. It’s a Swedish lawn game. The next product that may appear in the Wood & Faulk store is a nicer version of his Folding Tripod Camp Stool, which won’t be finished prototyping until next week.

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See Also:

Oxblood Cardholder with Horween ChromexcelGentlemen’s Reserve by Free / Man

Maryanna Hoggatt & Reid Elrod Shoemaker

Dehen 1920 – Portland, Ore.

This October Dehen will introduce Dehen 1920, a line of reproduction cardigans, varsity jackets, car coats, and motorcycle sweaters based on original pieces they’ve made at their Portland knitting mills over the past 91 years. Dehen researched their own archival vintage pieces and reproduced the manufacturing methods. The garments are made with heavy old-school knit and throwback embroidery techniques, but they are not identical to their original counterparts, many of the lengths and patterns have been updated for a more contemporary fit. Dehen 1920 ships this October to 20 retail stores around the globe, including Woodlands Supply Co., Tanner Goods and Lizard Lounge in Portland.

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Dehen is one of the few knitting mills left in the US, and they’ve watched as many of the garments they’ve made during the past century have come back into style. That’s where James Clark comes in. He started Dehen 1920 with Dehen owners Jim Artaiz, Mike Dehen, and Gary Hilde in order to open the company up to new markets.  Dehen 1920 is the company’s first retail line in over 40 years. While some Dehen branded product can be found in college bookstores and places like that, the majority is private label for other brands or sold directly to institutions and cheer squads. They also have a direct line into the Japanese retail market through Sonny Okamota, who has set up a museum-style shop in Japan that currently showcases archival Dehen pieces to create a buzz for the upcoming release of the 1920 line. Sonny’s shops will be the first to sell Dehen 1920 on the retail floor.

I meet James at their knitting mill in NE Portland. Bright bolts of fabric and ancient machines fill the warehouse, and skylights overhead let in the evening’s light. After catching up on Dehen History, what I’m really here to learn is how these pieces are made and how they look, but what I’m struck by first is how they feel; the knit is truly heavy and thick.

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How did you make the knit? How does it differ from what is normally made these days?

“No one had asked for a super heavy old-school knit in decades and our master knitter had to step back and think about whether it was still possible with the machinery we had.  He played with different gauges of yarn and different numbers of yarn ‘ends’. These are the cones of yarn, the more you add the heavier the knit becomes. After trying a few things we figured it out. ”

“When we took the product out and showed it to people it was the knit that blew people away.  Or rather, it blew away the vintage people and the apparel experts that are familiar with production and know what can be done domestically.  At one show we had new product sitting next to dead stock vintage product, and people often got the two confused.”

“There are plenty of people that don’t get it or like it, but it’s definitely unique. We’re told that there are only a handful of companies that can still knit like this domestically, and even fewer than can both knit and sew the knit into finished goods. Most of the machinery went to Asia or Latin America. It’s hard to fake this, and we are one of the few who can do it. We’re going after the people who appreciate the older knitting style.”

“As for the embroidery, we had to work with our vendor to make the embroidery more primitive, like the old stuff. It’s still made with a computer and automated machinery but we helped them to understand how the embroidery would have been executed if done by hand, and they adjusted the process and pattern to make it look more ‘old’.”

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What materials do you use?

“We’re using American Bison leather on our varsity jackets, and Pendleton Woolen Mills 24 ounce Melton on most of the jackets. We do everything except for the chenille and the embroidery, a company that spun off from Dehen does that.”

What kinds of styles are in this first line?

“We’re doing heavy woolen sweaters, varsity jackets and car coats, most of which are available in both decorated and non-decorated versions.  The sweaters range from the traditional school product, like the varsity cardigan and V neck pullover,  to 1930’s style motorcycle club sweaters to the longer shawl neck sweater coat.  The shawl has been the biggest surprise, and has been booked the most by retail shops. It seems like everyone has a shawl these days. There is about 3 and half pounds of wool in our shawl, which in some cases translates into over $40 of yarn.

“On the jacket side we have the traditional wool/leather varsity jackets, along with an all wool cadet jacket.  The cadet uses the same 24oz Pendleton wool except it’s washed, so it blooms and tightens up a little bit and gets a fleece-like effect. We also have a couple car coats – one that is the same as the car coats Dehen made in the 50’s, and another that is a bit modernized, with a zip front closure and a revised pattern.”

“This first line is all pretty related. There are about 10 styles and then about 50 or 60 colors and combinations of non-decorated and decorated with the ‘Dehen’ and ’1920′ logos. The decorated product is kinda a Japan thing, but surprisingly a lot of US accounts are taking decorated product.”

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How has the line been received?

“The response has been great so far, although our distribution will be limited this fall.  At this point it looks like we’ll be in about 20 accounts total, most in the US with a few in Europe, one in Korea and our Dehen store in Tokyo.  Locally, we’ll be in Woodlands Supply Co, Tanner Goods and Lizard Lounge.  In total, we’ve shown the line to about 30 accounts and managed to get placed in a lot of these doors.”

“Our accounts range from well know stores like Garbstore in London, to great local doors like AB Fits in San Francisco, to curated micro-accounts like Palmer Trading in New York. Our presence in Japan will start with our store in Tokyo, but should expand quickly in the coming seasons.”

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Dehen 1920 doesn’t recreate what other company’s have done in the past, instead you are resurrecting the garments that Dehen has been making during the past 91 years. Give me an idea of how Dehen’s history has prepared them for this line.

“Dehen has been around since 1920. It’s been through the ringer, through every change that’s rocked the apparel industry. Dehen use to be in a full block in the Pearl in a facility that was 3 times bigger than this one. They did all their hand chenille, embroidery, all kinds of knitting – pretty much everything was done in house. They’ve done everything from socks to swimsuits to sweaters to jackets. For a long time they just did what anybody needed. Then during the 1940′s and 50′s they were making school sweaters. During that time, every kid had a school cardigan and Dehen was one of the bigger manufacturers in the country for those sweaters, all right here in Portland.”

“Toward the late 70′s they started to increase their capabilities into cotton and acrylic. They rode the rugby shirt boom. And they dramatically expanded their capacity right at the wrong time, just as cheap Asian imports began to compete in their markets. There were 120 employees, but now it’s about 30 or so and it’s largely seasonal. Like every American manufacturer they’ve contracted, but the trend seems to be shifting, and we’re receiving more and more inquiries from well known brands looking for US manufacturing.”

Dehen 1920 will be available this October at Woodlands Supply Co., Tanner Goods and Lizard Lounge.

See also:

Maryanna Hoggatt & Reid Elrod Shoemaker

Yuketens & Wool Lined Cardholders – Tanner Goods

Anthony Parrish first showed me the Tanner Goods Pendleton wool lined card holders at the Tanner Goods opening party. Since then, he’s been making batches of 10 as they sell out in the Tanner Goods store on W Burnside. Below, Michael Andersen shows me a two-toned cardholder in natural and black dyed leather.

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The wool inside is firey orange and draws you in. There are lots  styles at the Tanner Goods store so go take a look if you want to find a different color leather or wool.

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The Tanner Goods store also has a beautiful iteration of the Maine Guide Boot, Yuketen’s 5 Eye boot in loden green and brown Chromexcel on a Vibram Christy sole. Tanner Goods is the only place in the USA with this specific colorway.

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From Inventory Magazine:

The Vibram Christy sole is a soft rubber compound developed by Vibram for the construction industry to provide comfort for workers on their feet all day. The leather is a special colorway called Loden Green. There is also a wax finish applied to this leather that will vintage quickly with or without rugged use. All components are made in U.S.A., including the leather and soles. The boot itself is a wonderful representation of Yuketen. The homemade pieces of the shoe, the unqiue design and American inspiration, and Yuki’s Japanese touch and philosophy, all come together on the Maine Guide boot.

See also:

Oxblood Cardholder – Tanner Goods & Horween & Anthony Parrish Leather

Tellason x Tanner Goods – Roll-up Canvas Tote

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I’m in Vancouver BC and see Tony Patella, co-owner of Tellason, the San Francisco denim brand known for it’s small runs of high quality jeans. He shows me their next collaboration with Tanner Goods: a roll-up canvas tote made with Tony’s dead stock canvas and Tanner Goods’ hardware and leather. He has two prototypes with him, one of duck canvas and one of 12.5 oz. Cone Mills White Oak selvage denim. Tony explains:

“I was at a factory in San Francisco that I used for my previous denim brand called Sutter, and I saw a roll of canvas and I asked ‘Who’s roll is that, that big roll of cool canvas? ‘ and they said ‘That’s yours from 1999′. Sutter closed business in 2001 and I never used the roll of canvas so it’s been at the factory since then. It’s truly dead stock, so I’m going to use it. We’ll make 150 of each color bag to start.  We’ll make it in 12.5 oz. Cone Mills White Oak selvage denim, duck canvas, and US-made 18 oz. black waxed canvas.”

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The inside of the bag is printed with a logo: flowers crossing a lumberjack’s axe. The flowers represent San Francisco and the axe represents Portland, the two hometowns of Tellason and Tanner Goods.

“Both brands are very much about the same ideals: longevity and good craftsmanship. Tellason cuts and sews the bag and screen prints the logo. Then we send it to Tanner Goods and they provide all the leather for the straps and attach the hardware. You’ll be able to find them at the Woodlands Supply Co. and the Tanner Goods stores, as well as the online stores.”

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See also:

Oxblood Cardholder – Tanner Goods & Horween & Anthony Parrish Leather

Oxblood Cardholder – Tanner Goods & Horween

Tanner Goods is introducing a new item every Friday. Two Friday’s ago they released a new line of cardholders featuring Horween leather, tanned using the Chromexcel® treatment. The Chromexcel® process uses a combination of chrome tanning and vegetable tanning. The hide receives a chrome base tannage from chrome salts and then a vegitable retannage from a proprietary mix of bark extracts and natural agents.

From Horween’s blog:

The benefit of combination tanning comes from the specific attributes that both chrome and vegetable tanning impart.  Generally, chrome tanned leathers yield soft, supple, and durable leathers, while vegetable tanned leathers are round and full feeling, patina well, and are easy to coax into shapes using heat and moisture.

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The cardholder pictured above is from cordovan (horse hide), and it will show more and more of that gorgeous light red color as it ages.

See also:

Portland Street Style & Tanner Goods Portland Ore. & Anthony Parrish Leather

Jarom on NW 23rd

Jarom is wearing a vintage vest, a The Hill-Side pocket square, RRL pants, LVC tee, and a belt and hat by Mister Freedom.

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See also:

Portland Street Style & Reveille Fine Clothier

WWII Bomber Jacket – Reveille

Reveille has this great bomber jacket. Camille says, “it’s a real WWII bomber jacket, the guy’s name was Mangel and we have his dog tags, medals and trunk that also have his name on it. We found them all together.”

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See also:

Portland Street Style & Reveille Fine Clothier & Reveille Opening Celebration

Alison on SW Oak – A Cigar Box

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See also:

Portland Street Style

Gentlemen’s Reserve by Free / Man – A Pop-Up Market

I’m in Vancouver BC at Darian Hocking’s Gentlemen’s Reserve pop-up market. I walk in and see that Darian drew in several great makers like Tony from Tellason denimBarret Alley from Dallas, and Erik Powell from Bridge & Burn. The event is the physical extension of Darian’s Free / Man online publication. It’s a showcase of men’s clothing, accessories, and grooming products.

Darian shows me the aqua dead stock selvedge pocket squares and ties made exclusively for the event by The Hill-Side. The items are numbered and have the new Free / Man logo stamped on them:

“The image is actually my girlfriend Alison’s late grandfather, Walter Bane, who was a gamekeeper in Norfolk England. We took it from the original 1939 photograph of him standing in a marsh with a shotgun over his arm. After going through some old family photos a long time ago, I thought he was the perfect image of our brand.”

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Two months before this event Darian released a promotional video as an alternate way of advertising the event. The video captured day-to-day moments in a man’s life as he roams the city, and reminds me of Jake Davis’s test shots.

“When we did the film for Gentlemen’s Reserve, some people asked how this was related, it was simply meant to be a day in the life of a gentleman. I was really inspired by the film that Michael Andersen made for the Woodlands, because you want to see these pieces in real life, you don’t want to see them shot on a model who looks like their 12 years old.”

“So we filmed in Victoria, and the model was Guy Ferguson who is the buyer and shop manager for Four Horsemen in Victoria.”

Photographed below is Darian’s personal pocket square made by The Hill-Side. There is only one piece that has so many blue stamps, but you can find a similar hankerchief with a single “GR” stamp on his online shop, or ask him about it at info@freemanbrand.com.

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A few months ago the Free / Man website switched over from a blog-style website in which one long column was populated by a row of posts, to a magazine template through Squarespace.

“For the new website we worked on a layout but let Stuart Hobday take over, who I would recommend because he builds such clean sites. He is able to take a print publication and build it online. We needed to launch a new site, because we would work for hours writing an article, only to have it move off the first page so quickly, we wanted these features to have a proper platform.The old website was using Blogger and is now on Squarespace.”

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Darian spent 10 years in corporate retail management, and as a reaction he has spent countlesshours making Free / Man a place where dialogue happens. ”I like to write and be helpful. I enjoy creating a sense of community and approachability, while providing a conversation I sometimes find missing in men’s style. I don’t have a writing background. Free / Man started quite literally as a dialogue between myself and a friend and a lot of other people have contributed their writing as well.”

“We will host Gentlemen’s Reserve again next year, near the end of May. Currently, we are talking about potentially producing a local Pop-Up Market in November before Christmas.”

See also:

Portland Street StyleTanner Goods Portland Ore.Reveille Portland

The Coava KoneThe Able One-Cup