Wednesday, 31 March 2010

Dr. Martens: First Look Part 1

As part of their 50th anniversary celebrations, a few lucky bloggers were invited up to the Dr. Martens headquarters and original factory in Wollaston (click here for a factory tour). Alongside their limited edition anniversary designs, which I shall be covering in an upcoming post, we were given a first look at their general upcoming releases and Fall 2010 collection.

Rather than overloading this post with everything that took my fancy, I thought I would split my commentary into two parts. Today I would like to focus on the models from the mens collection (although as you will no doubt discover in my next post, the gender divide is quite fluid in terms of what I would personally wear!). The first thing that struck me was the sheer number of designs, ranging from suede brogues, to tassel loafers, to desert boots, to climbing boots. Indeed it is the diversity of the label which affords it such wide appeal and cultural standing. I must admit however that whilst I enjoyed the classic pieces, I was more drawn to the newer directions taken.


I found the 'Worn' range, pictured towards the fore of the picture plane above, rather interesting. Dr. Martens have traditionally been famous for requiring a few weeks to break in when new - "they hurt like a b*tch for the first three weeks, but then it's like heaven". Part of the process and tradition is breaking in your boots and slowly wearing them in so that each crease and scuff tells your personal story. Of course some people simply want results from the box, and I suppose that was the intention of the line. I have never been a fan of overly pre-distressed clothing or footwear, but I must admit that it had a certain appeal.


Mention "Dr. Martens" to someone and they will usually picture the black or oxblood 1460 boots. However Dr. Martens have been branching out into the wider colour spectrum for quite a while now to great affect (I still want to buy a pair of the monochrome bright reds!). I really did like how the black and white boots popped with a loud sole and matching laces, they provided just the right amount of colour.


At first glance, and indeed touch, these boots feel like canvas. They are remarkably however leather made to feel like canvas. Using performance leather that was embossed and treated, these boots have a lightweight, waterproof and casual feel, which comes in a variety of colours. The all white soles and laces provided a fresh streetwear edge, and it certainly was an interesting direction to take.


The range of desert boots with their wedge soles were also nice to see. I particularly liked the soft brown leather pair with the white crepe soles. It was interesting to see desert boots with such a prominent welted sole, especially when compared to the offerings by Clarks. I think the wedge sole really made the profile, for they would not have had the same impact with a regular sole. I think that the soles would certainly look better after some wear.


The Vintage Made In England range was a nice heritage touch for the collection and I found myself drawn particularly towards the Cappers. They had a certain Steampunk quality about them with their prominent stitching and polished eyelets. The piped lip was also a nice touch. I feel the need to wear them with a tweed waistcoat, pocketwatch and monocle (I would actually seriously love that).


In testament to the diversity of Dr. Martens were a pair of traditional oxblood tassel loafers, which although slightly on the chunky side for me (darn my skinny legs) were rather attractive.


High quality velvet Dr. Martens? Where's my silk paisley robe and pipe?! I would be too scared to wear them outside lest they get damaged, but I thought they were absolutely beautiful.


The highlight of the mens collection for me, alongside the amazing velvet range of Dr. Martens, were this pair of strapped white boots with a contrasting black sole and customary yellow stitching. I immediately thought of Martin Margiela, and got to thinking of designs that would appear were the two to collaborate (if you are reading Dr. Martens or Margiela, please make it happen).

Please do be sure to come back tomorrow to see the womens range and my personal favourites!

Currently playing: All Cats Are Grey - The Cure

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Quilts at the V&A

(If you are in or can get to London at any time until 4th July, you simply have to go)

Currently playing: Memories ft. Kid Cudi - David Guetta

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Tuesday, 30 March 2010

Making Dr. Martens


This Thursday, the 1st April 2010, sees the 50th Anniversary for the iconic Dr. Martens 1460 boot. Dr. Martens have been worn by the likes of factory workers, postmen, policemen, skins, punks, rockers, bloggers and even yours truly. It is a history so diverse and remarkable that the 1460 is a design which really does deserve the oft thrown around label of 'iconic'. The boots are important not only in the discourse of British (and indeed worldwide) fashion history, but also deserve a chapter in their own right within any number of social history studies.

Dr. Martens were kind enough to invite a number of bloggers (including Steve of Style Salvage, Disneyrollergirl, The Clothes Whisperer, Butters the super cute fashion dog, Mademoiselle Robot and Tor of Fabfrocks) up to their original British headquarters and factory in Wollaston. We had the opportunity to look at their upcoming anniversary campaign, Fall 2010 collection and even take a tour around their original factory.

Rather than simply launching into details of the upcoming releases and the models I found interesting, a little context is always ideal. We were lucky to be able to have a guided tour around the factory led by the wonderful Brian, who has worked at Dr. Martens for an impressive 37 years. For someone who can literally spend hours watching back-to-back episodes of How It's Made, the experience was quite frankly amazing.

At their peak, the Dr. Martens factories in Northamptonshire were producing over 12 million pairs of boots a year. With production now based mainly in China, only select pairs are still made within Britain. It was remarkable to see the number of skilled hands required in the production process and indeed how much is still done by hand.

Mmm juicy colours.

Aluminium blocks are first cut to create the mold for the soles. The soles are produced by injection molding using thermosetting plastic pellets at 173ºC. They are then left to cool for 24 hours during which time they shrink 2% to their final size.


'Clicking' is where the leather hides are cut into the constituent pieces required for each boot. The process is so called due to the sound made when cutting. The hides for the Wollaston factory are sourced from Amsterdam due to lack of tanneries within the British Isles.


Whereas your average leather shoe uses leather with a thickness of 1.6mm, Dr. Martens tend to be made using thicker leather around 2-2.2mm. This is however too thick for the tongue piece, which then has to be cut slimmer. Cotton is also cut to match the leather pieces in order to be used as lining.


Silver pen is used to mark stitching lines on the leather. The main body of the boot is stitched together along the back, which is then covered with a heel strip and the labeled pull. Carol was stunningly fast on the machines, zipping the pieces together with ease.


Triple stitching is used for structural integrity on the vamp. It was the first time I have actually ever seen a three needle machine...and it looked terrifying.

Holes for eyelets are punched and the eyelets secured in one swift motion, after which the boot looks more like a finished boot yet still not quite right. The last comes into play in order to shape the boot into its recognizable profile.


The boots are steamed to make the leather more supple when forming. A rack housing a heating element and water bath provides steam, most importantly for the toe of the boot. The leather is pulled and pinched to shape around the last.


Dr. Martens would obviously not be Dr. Martens without their iconic welted Air Wair soles. The process was magical to watch. The innersole is glued and stapled into place, with the welt then stitched on. Every pair of Dr. Martens has exactly 49 stitches around the sole, regardless of shoe size (the width of the stitches is adjusted accordingly). A sliver of springy wood is also placed within the welt gap to provide flexibility.


Whereas soles are usually glued onto the welt, with Dr. Martens the soles are quite literally melted onto the welt. A flash of flame starts the process!


The excess of the sole has to be trimmed down by the lathe. The rotary blade on the lathe also provides the finish to the profile of the sole, whether it be ribbed or smooth. A machine is then used to help remove the last from within the boot.


The boot takes 15 minutes to craft from start to finish.

Now all they need are a pair of laces and a pair of feet to wear them.

Currently playing: Maybe (Hindi Version) - Jay Sean

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I believe this is officially called "The Countryside"

Currently playing: Paris Nights/New York Mornings - Corinne Bailey Rae

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Tuesday, 16 March 2010

Sunday, 14 March 2010

Skate Sundays

Damien Hirst x Supreme

It is Sunday and the sun is out.
I feel the urge to lace up my Vans, buy a colourful new deck, go skate and forget about the world.


Currently playing: The One (Travis Barker Remix) - Slaughterhouse

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Tread Softly

Currently playing: Road Runner - Bo Diddley

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Saturday, 13 March 2010

Keeping It Fresh

Simple, clean and fresh.
Velour
Fall/Winter 2010

I actually had my first experience of Velour through the online retailers ASOS. The clothing looks rather basic (and even boring?) when viewed in strict isolation. To be honest I always find photographs of trousers rather misleading on retail websites. The model is invariably standing with their legs unusually apart, as if they have a balloon held between their thighs in order to give a true representation of the full leg of the garment. It can often be rather awkward and a touch confusing. Similar to labels such as Acne or APC, it is something which lends itself well to being viewed within an entire outfit.

I have always had issue with the representation of clothing in online stores, and indeed it is quite the concern. Retail display is an art form of its own (check out Haute World if it interests you as it does me) and I suppose once removed from the actual real world experience there are questions of how to carry that forward. Although internet shopping is now mainstream, I feel that issues of representation are still as problematic as ever and have yet to be fully worked out. Can clothing ever truly be represented in its actual absence? It does after all need a human body with which to communicate and act on.

How does one choose to present clothing for sale online? The options are just as numerous as in the real retail environment, although with the additional option of a live model (albeit still a photographic representation regardless of the option). Whether you are a fan of seeing the garments in flat profile with additional detail shots, seeing it with other garments, seeing it on a model, or seeing it with a ghost model, it is the aim of the retailer to provide an accurate and enticing view. Of course they can fall short...sometimes rather painfully (check out this thread on oki-ni's infamously bemusing choice of model/creative director Daniel).

This is perhaps where the lookbook comes in. Indeed I have often found myself excited by clothing far more within the context of a lookbook or editorial than when viewed on a retail website, or even on the hanger in person. Clothing is after all meant to be worn, and it is only when you try something on and see how it interacts with your body that you find out how well it works for you. Jeans are the most obvious example and actually where I find the most problematic representation issue online to be.

How do you feel about product photographs when shopping online?
Ever been misled or put off?

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440-490 Nanometers

Currently playing: So You Can Cry - Neyo

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Monday, 8 March 2010

Monday Malaise



Currently playing: Ince Ince - Selda Bağcan

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Do you ever look at the sky and think it looks naked? Not in the Victorian sense of lacking modesty, but in the sense of a newborn baby. Clear skies mean anything is possible.

(shot with Nokia 5800)

Currently playing: Ballade No. 2 - Chopin

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Saturday, 6 March 2010

What Do You See?


The Fall 2010 collection by brothers Dean and Dan Caten of DSquared opened with a veritable bang. The first look to come thundering down the catwalk was truly resplendent in its glam-meets-goth glory - all black with heavy metal highlights complete with spikes, chains, feathers, black nail polish, eyeliner and even some high heeled boots thrown in for good measure.

I smiled when I saw the look. However I smiled even further when I read the reception it received in the fashion media at large. Coverage focused on the obvious gothic glamour of the look and quite eloquently so. From a purely fashion perspective I suppose I see it is a Gareth Pugh meets Ann Demeulemeester vision. Yet at a more personal level, I see something quite different, something entirely missing from current mainstream coverage.

What I see is a visual reference which perhaps only a few would. However it is one impossible to deny...

"Mmm, JUICY!"

I was shocked when I saw the DSquared collection, because the first thing I saw was Ryuk. The character features as a Shinigami, a death god, in the manga turned anime turned live action series Death Note. I must admit that I imagined Ryuk as more of a Gareth Pugh wearer, but I suppose Dan and Dean would have it otherwise.

As far as the actual look goes? Love it. Would I wear it? Sure, provided the occasion was right. Either way, it would make for one heck of an amazing cosplay...

Currently playing: Symphonies - Dan Black

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