Eye to Eye

12/06/09

The shirt as we know it is not as old as some would think. Shirts were cut extremely long and served as an undergarment until the turn of 20th Century. By 1980 a man's shirt was as much a status symbol as his car. Today men are required to have at least a few perfect fitted shirts, some can never have enough shirts (Sam and I know many of you very well). I met with Chirs Olberding, the man behind Gitman Vintage, to discuss the greatest garment since pants.

Ryan:
I'm glad we finally found time to talk shirt production. Sam and I talk daily with our clients about denim weaving processes and dye techniques not to mention how the rhythm in the floor boards of old fabric mills aided to the irregularity of the weave. I am fascinated with the story behind the garment. Lets look at the nuts and bolts of a shirt, the details, what makes a Gitman Vintage shirt a Gitman Vintage?
Chris:
First and foremost, I think the shirt is a much less complicated species than denim. There are a couple of differences in a Gitman Vintage shirt that are most immediate. The first is, unlike an Italian made shirt, an American made shirt most often and with Gitman, all of the time uses a double needle. Double needle on the side seems and double needle throughout. This is something that is built for the American laundering process, its a bit more of a rugged shirt and more substantial.

Ryan:
American guys machine wash and hang dry their shirts in addition to the typical American dry cleaner which is harsh on clothing.
Chris:
Yes, exactly and the Gitman Vintage shirt itself, and John Minahan who is the president of the company has constructed the shirt to endure the American laundering process. If you have ever lived abroad and taken a shirt to a French dry cleaner its a totally different experience. Here (in the States) its not the most delicate process.

Ryan:
These shirts are built tough.
Chris:
Yes, but that's kind of secondary. There are other things about Gitman Vintage shirts, first of all it takes about 80 minutes to make the shirt and there are 27 to 35 separate parts that go into making one shirt. The most significant thing about the Gitman Vintage shirt is that the collar, the cuff, and the pocket are all hand set. With most shirting companies these pieces are put on simultaneously with the placket, with the shoulder yolk. Where as with Gitman Vintage they are put on in three different stages. Another thing I love and I've never seen anyone replicate because it is ours is the chalk button.

Ryan:
Explain the split yolk:
Chris:
All of our yolks are split yolks, and its a functioning split yolk. A lot of people use that as more an aesthetic design, or a little detail, but the reason the yolk is split on a Gitman Vintage shirt is for shoulder movement on each side.

(Aaron and I thumb through a pile of Gitman Vintage samples, Chris stops us to use one shirt as an example of "repeat of the plaid". Many production houses simply cut the patterns necessary to make a shirt without considering how the plaid pattern will appear on the finished shirt. On a Gitman shirt, the plaid lines up perfectly. Look closely at the collar, placket, and the pocket on one of our Gitman plaids).

Chris:
Look here, this time they really outdid themselves. The repeat is much bigger, there is nearly a foot before the plaid repeats. They have to use more yardage to line this up, its a much more difficult task.

Ryan:
Is this uncommon? The repeat of the plaid?

Chris:
Typically you would have to look to a company like Borelli for instance or a much higher end shirt maker to find that done.

Ryan:
So your guys have a unique approach to cut and sew based on higher standards?
Chris:
It's all women. There isn't one male cutter on the floor. I heard their response to my presentation of the Gitman Vintage project in the lunch room, "I can't believe we have to wash and dry every shirt, oh my God, have you seen some of these plaids?". The cutters talk to the sewers over lunch, about what fabrics are difficult to get through, some of the flannels for example.
Ryan:
This is part of the Gitman Vintage story, and part of Ashland history.
Chris:
Many of the shirt manufacturers we know today originated in NY around the 30's, and they moved to Ashland when making shirts in NY became to expensive. It is the equivalent to what silk is to Como in Italy. Some of those companies have left, production was outsourced, but because of that move the knowledge of doing these nuanced things: lining up plaids, how to turn the placket, how to hand set, all this knowledge remained local. If you were to introduce this into a new factory they could do it eventually, but it would be a very difficult exercise.

Ryan:
There is something really nice about what you've done with Gitman Vintage. You've done an excellent job of choosing fabrics, which for anyone who has been to a swatch house, is easier said than done.
Chris:
I don't get as experimental in this line because once I start to do that I feel like I'm becoming a designer which I'm not. I'm more of a highly selective curator of our past.

Ryan:
Who in the world of shirts excites you?
Chris:
Borelli Vintage is all taken from their 1957 collection and their shirts are just wonderfully made. I love Come des Garcons out of Japan.

Chris and I finished with a discussion on the extensive range of fabrics available for making a basic white shirt and a debate on whether the a pub collar is too Eton School Boy for the US market. Aaron, beginning to fatigue, interrupted, "You guys want to keep talking shirts over Blue Ribbon sushi?". We concurred.

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07/28/09

The story behind the Filson + Apolis Philanthropist Briefcase.

Part Two: Interview with Shea Parton, brand director for Apolis Activism.

1.) During your youth, you had the unique opportunity to travel the globe. How has that experience shaped you, your brothers and Apolis Activism?

My brothers and I grew up in Santa Barbara, California. Our parents knew we would never appreciate where we lived if we weren't exposed to different cultures and languages. From an early age we followed our parents' heart for non-profit efforts across the globe. Through those shared experiences my brothers and I have come to realize that our passions, strengths, and weaknesses are surprisingly compatible, leading us to work together. Yet the path of business we are on today is highly unexpected as there is no family experience in garment making. In hindsight we could have chosen to sell boats together as long as we were engaged in a business that was integrating the product with a purpose. Our vehicle for business simply needed to be connected to a lesson that pages of passport stamps taught us that despite the different languages, food, and plug outlets, is the same desire to laugh, learn, and provide for your family. Before we knew it, my younger brother and I were following our older brother's lead into fashion to create a brand that joins the hands that make a product with the hands that wear the product. And we anchored this concept in the brand name Apolis, which means a global citizen. Representing our belief that humanity, not flags and borders, but humanity is the common thread that unites us.

2.) What drew you to Invisible Children for creating the Philanthropist briefcase? Why is their approach more suitable to the ethos of Apolis Activism than charity?

After making two visits to Uganda with Invisible Children we are convinced that they are on the forefront of sustainable development. Invisible Children's previous assistant country director, Adam Finck, put it well, "We have been able to break stereotypes in the non-profit world by listening to the real issues at hand." Their intelligent approach lead us to source a 17.5 ounce Ugandan canvas through their cotton initiative and create the Philanthropist Briefcase. This partnership has created an opportunity for Invisible Children's cotton initiative by becoming an example of progress for the development of Uganda’s cotton manufacturing industry. This project is a great example of our desire to empower people through opportunity instead of charity in ways that go beyond business as usual. We pursue a sustainable model of creating opportunity through jobs instead of offering charity through donations in ways that empower people throughout the supply chain. This approach is the key foundation of any partnership we choose.

3.) Have you been able to witness first hand the social benefits for Uganda with the manufacturing of the Filson + Apolis Philanthropist Briefcase?

We are in the early stages of this project with the intention of creating substantial change. We are confident that the foundation we are laying will play a pivotal role in reigniting an industry that once thrived before the civil war in Uganda. Uganda is known for having some of the most fertile agriculture in Africa, and to be involved with this historical effort has been a privilege.

Our development partners are a direct extension of our brand. If they fail to provide credible channels through which people can be truly empowered, our brand suffers in the eyes of our consumer. So in order to ensure authentic and effective results, we need to be deeply involved with our partners every step of the way, allowing us to be equally responsible for any successes or failures. This dynamic has created a unique partnership with Invisible Children's Vice President of International Development, Ben Thomson. Ben has become an important voice on our advisory board and does a great job of summarizing our collective philosophy, "Philanthropy is at an exciting cross roads because people are beginning to understand that it can be more a part of our daily lives and not just an afterthought. Donating a percentage to the poor is great, but giving the poor access to opportunity is even better. Apolis is on the forefront of an era of new philanthropy by integrating sustainable development into their supply chain and bringing a whole new meaning to corporate social responsibility. The line between development and business is becoming blurry and consumers are beginning to see their role as they demand to know how, who and where their products are made."

4.) What has been the greatest success of Apolis Activism thus far?

That we can continue to love what we do on every front-- the partners, the people, the business, everything. I think that's rare in life, that you can work hard and do something meaningful and make a living at it and just love every single step along the way. But in business terms and in more traditional terms we have not really done anything yet. We want to see this concept be the norm, not the exception. And we think we can be a catalyst for that future. We are doing it in a certain niche within fashion. At some point, someone is going to step forward and do it in technology or the service sector or somewhere else. So I think our greatest success to date is enjoying a job that is gradually connecting developing economies to the marketplace with their product and story.

Click to preorder the Filson + Apolis Philanthropist Briefcase

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07/19/09

The story behind the Filson + Apolis Philanthropist Briefcase

Part One: Interview with Amy Terai of CC Filson Co.

1.) How would you describe Filson to someone who has never heard of the company?

Quality outdoor clothing company, proud of our pacific north west heritage, trans-generational clothing, we use some of our original silhouettes - like Clinton Filson's Cruiser Coat from 1914.

2.) Filson has been around since the 1890's, has the approach to production changed much since the beginning?

Filson started in 1897 and the approach hasn't changed - "Might as well have the best." CC Filson began with a perspective of standing behind your garments and it hasn't changed. We produce 65% of the product line in our Seattle factory and the balance we work with high quality overseas manufactures that are able to produce technical styles. We use the best fabric, hardware, and finishing for products that are passed down from generation to generation.

3.) How would you describe Filson's response to the collaboration with Apolis?

This collaboration is definitely outside the box for Filson. We respect what Apolis stands for and are excited to bring customers more value to their purchase. We like how Apolis touches on a bigger social level and are interested in the response.

4.) Do you see a potential for the Filson + Apolis Philanthropist Briefcase to open Filson to a new customer?

Yes this will create new customers, because our normal customer will probably not be aware of the bag. We see this reaching a unique demographic within the fashion market.

Coming Soon, Part Two:

Discussion with Shea Parton of Apolis Activism on the Apolis + Invisible Children partnership, charity vs. opportunity, and the life experiences that helped shape Apolis Activism.

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06/06/09

Inaugural Collection, Autumn & Winter 2009

The Hill-Side is a new brand of neckties and handkerchiefs. It is named for the street that the owners/designers Emil and Sandy Corsillo—grew up on: Hillside Avenue.

Emil "We named the brand after something personal and nostalgic because that's the feeling we want our products to evoke. Our core design values are craft, provenance, and intense attention to detail. I like that we had a conversation about the word selvage. You are lucky to have clients that understand the difference between salvage, selvedge, and selvage. It is the details that matter."

"The Hill-Side takes a tough, working man's approach to neckwear. These ties and handkerchiefs are not fancy or fragile, they are not merely decorative, nor are they status symbols. They are meant to be worn hard, every day, and they gain character with each use. The necktie in its conception is 100% decorative, but those that appreciate good design will enjoy the concept and execution of our wears."

"We source the majority of our fabric from Kojima, Okayama Prefecture, Japan where the best denim in the world is lovingly produced with artisanal pride. The dying techniques in this region are historical. We appreciate those that understand the nature of this fabric and take the time to properly represent its character in stores and online. It is for this reason that we are keeping our distribution to a few select stores.

We see eye to eye with Context on our approach to design. Your client base understands the special nature of these fabrics.

Your dog is a LEGEND.

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