Leather Lust Object No.12 - Isaac Sellam

Leather craftsman Isaac Sellam works out of a Paris-based studio - what he calls his "leather research laboratory" - having spent 15 years honing his abilities before debuting his creations under the Isaac Sellam Experience label in 2002. He focuses primarily on handmade, exquisitely pricey jackets and coats, as well as particularly relaxed knitwear that looks as if it may disintegrate one day. This 'animal 2' crocodile skin biker-style jacket, somewhat redolent of Loewe in the 1980s for some reason, is available at Farfetch.com; Londoners such as I can see his work at Brompton Road's emporium of directional menswear, The Library

The Vintage Prelude (Fashion for Women)

Via 123rf.com

   I am in the midst of slapping together my general thoughts on the state of the vintage clothing, as seen through the eyes of an overdressed, bi-cultural West African in late 2011 London; as such, the article is guaranteed to be impractical to all that are interested in quality guides, reputable dealers and low grade polyester

   Fortunately for everyone else, there are enterprises such as Devoted 2 Vintage that care for the practical side of informed decisions. As such, when I received an e-mail this morning offering '5 Tips to Identify Real Vintage,' I saw no reason not to disseminate it in the column. It concerns women's vintage entirely, which is perfect for my purposes - my eventual article will have a decidedly XY slant:

5 Top Tips to Identifying Vintage Clothing

Have you ever bought a "vintage" dress or shirt only to find out later that it is actually a modern reproduction? Well you are not alone, we see modern clothing everywhere you go purporting  to be vintage either because the seller doesn't have the experience or are simply trying to cash.

We would like to share some of our experience with 5 Top Tips to help you avoid making this mistake and maybe find that hidden vintage gem. There are always exceptions but by following these simple checks you should be able to avoid many mistakes.

Indicator 1 - Look at the Zip! 

 Does the dress have a metal or vinyl zip? Vinyl zips were not widely used on dresses until mid-late 1960's so the presence of a metal zip could indicate a pre-1970's dress. The location of the zip is also a key indicator. Also the location of the zip is important. Up to the 1950s the zips were often placed at the side of the dress, moving to the back during the 1950s and 1960s.

Indicator 2 - Look at the labels.  

There are three types of labels to look for; the makers label, the size label and care label. There is an excellent vintage label resource on the Vintage Fashion Guild web page were you can look up most important vintage labels. If you can't find your label here look at the other labels. Before the 1960's the size labels typically indicated the hip size in inches, after this sizes such as 12, 14 etc. were more commonly used. These standard sizes have change over the years so a 14 in the 1960s is equivalent to a 1970's size 12 and modern size 10 so check the bust measurement. Care labels are also a good indicator; they were only introduced in the mid 1960's and only became widely used in the 1970s. The Pure New Wool symbol was only introduced in the 1970s. The absence of any labels would normally indicate that the dress was home made and very common before the 1970's

Indicator 3 - Look at the Garment Construction.  

Vintage dresses are more likely to be hand made with details like hook and eye fasteners and poppers to secure the garments. Also, internal bra straps were common in the 1950s. Underskirts were common in the 1950's; look for net and muslin underskirts, often with metal hoops sewn in the hem to give the skirts more volume.

 

Indicator 4 - Feel The fabric.  

This is a skill that will be developed by handing vintage clothes. Modern mass produced fabrics are rarely the same quality as vintage fabrics. So it is worth spending time in a reputable vintage shop feeling the fabrics, when you then compare this with a modern dress the differences are apparent. The type of fabric used is also a good way of dating dresses. Rayon and taffeta were widely used in the 1950's and in the 1960's polyester; nylon and Crimpolene were commonly used. Lycra was only introduced in the 1980's.

Indicator 5 - Look at the Style of the Dress.  

This alone is not an accurate indicator because there are many vintage styles have been reproduced over the years. The 1940's shoulder pads were widely used but were also popular in the 1980's. The two most popular styles in the 1950's were the shirtwaist dress, with buttons to the front, a nipped in waist and full pleated skirt and the wiggle dress with lovely fitted hourglass shape. The 1960's saw the introduction of the classic mini skirt and simple shift dress. The maxi dress became more popular in the late 1960's and into the 1970's. The more flamboyant 1970s demanded more fitted styles with plunging necklines and angel sleeves.

Using all these key indicators should lead you through the minefield of buying vintage and help to prevent you from making mistakes. As your collection grows so will your experience and confidence but as long as you buy items that you love then even the mistakes don't matter too much.

The Alex Wilson Portrait Shoot, Part Three - Dog Day Afternoon

On one of the hottest days of this dying season, Alex Wilson and I reunited to further our collaboration, this time in the residential environs of Knightsbridge

For thematic consistency - or due to obsessive tendencies -  I utilised another Deborah & Clare shirt (one may note a textured star design in its weave), this time with one of the duo's neckties, and a different pair of vintage Ultra eyeframes. Common sense dictated that I don an unstructured ramie Junya Watanabe Man jacket, currently the lightest wearing coat I have

Needless to say, more to come

All photographs are the copyright of Alex Wilson: http://awilsonphotographic.com/

Beastie Boys - 'Ricky's Theme' (1994)

Design Lust Object No.4 - Charlotte Perriand et Jean Prouvé

Via Artnet.com

Made from lacquered aluminium and wood, this striking piece from the pre-Tetris/pre-Jenga Fever era is an example of the distinctive 1950s "Mexique" bookcase designs created by the French designer Charlotte Perriand (1903 - 1999) at the Atelier Jean Prouvé, ostensibly the only one Perriand would work with. History has it that it was originally designed for la Maison du Mexique, a dormitory at Paris's Cité Universitaire when Perriand was tasked with designing its meeting rooms, cafeteria and forty students' rooms. She worked extensively with Sonia Delaunay, who was in charge of the coloration. Already, one is under the impression that Perriand possessed a particular sense for organisation; this creation was an example of her goal to bring a sense of idiosyncratic, attractive aesthetics to functional living

In the 1930s, Perriand was partnered with the notably more well-known Le Corbusier, as pictured above, having gained his attention with her chrome-tube furniture installation, 'Bar sous le toit' (bar under the roof), at the Salon d’automne in 1927. She devoted herself to leftist causes and healthy living, as evocatively displayed in the poster below as she defies the elements in nothing but the gloves and lower half of her ski ensemble. An exhibition on Perriand, detailed at The Hotel Corail, is now in its final weeks at the Petit Palais Musée des Beaux-Arts de la Ville de Paris

Utrecht - Phantom of Indie Boyz (2006)

   It's Tokyo time again:

"Do you know there are discos in hell, too?
Six people died at the party when we played there"

   Obscure enough to only allow me one YouTube link, there's still a lost mass appeal to this trio's output. Utrecht is something of a Neo Shibuya-Kei supergroup, with the genius-level sample manipulator Tomonori Hayashibe of whimsical, super-speed pop exemplars Plus-Tech Squeeze Box joining the more Francophiliac stop-start dance purveyors Gikyo Nakamura, a DJ better known as The Pegasuss, and Ukai, leader of COPTER4016882 and a labelmate of electro disco svengali Yasutaka Nakata, a one-time upstart in Shibuya-Kei traditions whose work ethic and guidance of the successful trio Perfume and his band Capsule have seen him obtain cottage industry prestige and Asia crossover success

   The trio's first record, New Beach, bore a label recommending them to followers of Mylo, The United States of Electronica and other such groups they are a touch more interesting than even if they paddle in the same pool. In common with the upbeat  inclinations of their previous turnout, that production was their Digital Disco of Love album; this is the synthetic, yearning, warehouse rocking-derived follow-through, suitable for a long cruise through a Mirror Universe Miami twenty five years ago. And this casual drive still faces occasional interruptions from the lightning strikes of the rock gods

   That squelch of music that one would hear at the slow push of a pause button on a tape deck impels the album as '1980' rolls around; an unspooling soundscape of synths and what is either woodwind or backwards strings proceeds in a fashion that suggest the song has ensued in reverse. This effect lasts around 30 seconds before plucked guitar notes and a mildly plaintive melody elicit two reactions - "Don Henley" and "Mature Sophomore Recording." Whilst this is built on with the unison, wistful harmonics of the trio's singing - it should be noted here that as a result of singing in broken English, Utrecht provides little intelligibility to their vocals - snares that may have been devised by turntable cutting and a fast pace, there is still enough downbeat atmosphere to ease one into the record gently

"It's not so bad to start from a wasteland

I'm the chosen

I can imagine vividly
Scenery seen far away
I can get everything
Luxurious dinners and a precious girlfriend"

   If Phantom of Indie Boyz bore a similar sticker to its predecessor, the reference points would most likely be the skinny jeans, indie dance heroes of five years ago it slots alongside - Justice, LCD Soundsystem and my personal favourite, Cut Copy - with the odd lashings of M83. Apparently, the scowling electro-rock song 'turntable still burning' is constructed from references to various genre tracks from that year, whilst the preceding 'morning haze' contains dream pop-like textures comparable to M83's synthesised swoons. But it is pop music that buoys Utrecht's best work, as it did on their previous record, and this is clear from the ones I love best: the eponymous and snappy neon night ride, 'phantom of indie boyz;' the aptly named second track 'stay gold,' a yearningly romantic, excellently produced and composed dance-pop number in the St. Etienne-with-low-end mould; and 'kiss me, kiss me,' a softly funky, minimal electro-disco piece that is referential to other music in a different manner to the aforementioned 'turntable...', bringing the melody and lyrics of the first album's 'first kiss' into a new setting of indelicate lyrics and very dégagé, very Japanese rapping - cut-and-paste to the core

   Sound samples are available here; lyrics are found there

Autumn Astaire

There should always be praise for Fred Astaire's mastery of playfulness and propriety, for how else could he have played the 1960s young man's game of the similar/same coloured necktie-and-shirt so well?

The Samuel Fosso Post

I borrow an identity.

In order to succeed I immerse myself in the necessary physical and mental state. It’s a way of freeing me from myself.

A solitary path.

I am a solitary man.

 

Samuel Fosso (born 1962 in Cameroon) as Angela Davis and Martin Luther King in his 'African Spirits' series

   Once, at the London retro-speakeasy flavoured club night Prohibition, my friend and occasional collaborator Winston Chesterfield put it to me that "there is a challenge levelled at dandies that many of them are simply playing ‘dressing up’ – the implication being that with a fashion history book open, anyone can match such a style." I've always thought this implication wide of the mark; as proved by some - but only some - of the patrons at that very night - a book or a photograph does not confer consummate mastery, never mind an instant one. Without a creative eye, mimicry is worth less than nothing. And that premise underlines my appreciation of this article's rather visually intelligent subject

   My interest in Samuel Fosso's portrait shoots began in the early days of Style Time/Mode Parade, although there were other little distractions like articles about pocket squares, flamboyant showmen and satirical pop songs written for television dramas to keep me from parsing this knowledge into content hitherto tonight. It is the particular charm and statement-making potency of his work that has lodged it in my mind, to say nothing of the labile self-presentations of the photographer himself, moving from African and Black American living/dead emblems such as Haïlé Sélassié and Malcolm X to post-colonial African hipster and neat, almost dandyish, naval recruit, bolstered by simple backgrounds whose mise-en-scene illustrates much about the lifestyles Fosso swathed himself in for his work

 Selections from 'Fosso Fashion'

   Like the genuine dandy, Fosso is a work of self-actualisation, weaving visual pleasure and social commentary from carefully constructed artifice. His portraiture is openly artful, his aesthetic sense alternately playful and ascetic (even he could not avoid the pristine allure of a white studio expanse). Most considerately, his theatrical feeling for posture yields photographic self portraiture that makes no bones about its narcissism and is all the more vibrant for it. I claim no expertise, but most professional self-shot photographs I see, these days, may as well have been taken in a photo booth or specifically for a MySpace account, for all the emphasis they place on setting and demeanour. Under such parameters, those portraits might become more interesting

Selections from 'Autoportraits des années 70'

   Fosso's myriad signifiers are elucidated in a Frieze magazine review that I filched from the eyepatch-sporting, Japanophile performing artist Momus, and may I say that it was a great help in producing this entry. It's quite a portrait of the artist where gravitas is concerned, but then it is about Samuel Fosso - a man whose narcissism is worth a thousand words:

Sly and the Family Stone - 'Hot Fun in the Summertime' (1969)

Let us enjoy it whilst we still can: