I should note that I know not everyone can afford a $500 sweater. That's why my Black Friday post includes things such as this $80 J. Crew sweater. In the past, I've also written guides on how to to get top-of-the-line vintage Scottish cashmere knits on eBay for ~$50.
But since I appreciate craft and wish to see craftspeople be able to earn a living, I'm also happy to promote things that I think help keep these traditions alive.
So, why is this Chamula sweater $500? It's because of how it was made.
Most sweaters are made on flat bed or circular knitting machines. If the manufacturer is good, they'll hand-link the panels together so the finished product doesn't have a bumpy seam. When shopping, look for something called a "fully fashioned" sweater. It's a sign of quality.
The amount of industrial technology in this process allows you to buy a pretty good sweater for $200 or less. But there are also companies that produce sweaters the old fashioned way: by hand.
Chamula is one of those companies. Here is the brand's founder, Yuki Matsuda
Chamula uses Merino yarns sourced from pure bred sheep grazing on mountains in Mexico. These fibers are then hand-spun on spinning wheels and then hand-dyed into rich colors. The resulting yarns are given to indigenous Mexican knitters who hand-knit them into sweaters.
Does the amount of handwork make for a better sweater? Well, it depends on what you mean by "better."
Depending on the design, hand-knitting a sweater can sometimes produce intricate stitches not possible on a machine. Depending on the process, you can also get customization.
Flamborough Marine is one of my favorite producers for handknit sweaters. They make in a fisherman style known as the guernsey (sometimes spelled gansey), which has identical panels from front-to-back and features a high neck collar and dropped shoulder seams.
Daniel Day-Lewis once had a sweater made here. He said it was inspired by a fisherman knit once owned by his late father, Cecil Day-Lewis, and had a similar design made through Flamborough Marine. Rajiv Surendra also owns a sweater from the company.
These knits are itchy, dense, and wonderful. They function like windproof outerwear. Since each sweater is fully handmade and knitted upon order, you can ask for anything you want. When delivered, the sweater comes with a little card signed by your knitter.
Cost? About $625.
Chamula's sweaters are ready-made, not custom, and they're not as dense or windproof as Flamborough Marine's guernseys. Instead, the yarns are extremely plush and spongey; the low gauge means you get a slightly looser, more open knit.
I treat mine a little more delicately than I would, say, a standard machine-knit Shetland. But I love the unique texture they bring to an outfit. I also love that these were made by hand from start to finish by indigenous Mexican knitters carrying a craft tradition forward.
The $500 price reflects the time and skill that goes into these garments. Is hand-knitting better? Not necessarily, but if you fall in love with the process, perhaps you'll love and treat the knit with more care. And be more likely to repair and wear the sweater for a long time.
That said, I think you can appreciate something without wanting to own or purchase it. The price alone should not be reason for ridicule. Workers deserve fair pay, and even if you can't afford to buy something, you can appreciate that someone is laboring to keep a craft alive.
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It's a lot easier to understand fashion/ clothing if you think of it in terms of social language, not purely in terms of function or artistic expression. I will give you some examples. 🧵
Have you ever wondered why there's this buttonhole on a jacket's lapel? Or really, suit jackets and sport coats have lapels at all? The lapels seemingly serve no practical function and yet take a bit of fabric and skill to make.
The answer is in the garment's history.
The lapel's buttonhole is a vestigial detail from when sport jackets could be buttoned up all the way up to the neck to protect the wearer from blustery cold. Here, we see single and double-breasted coats with what's known as a Ghillie collar.
Some quick reactions to the menswear outfits seen tonight at the Golden Globes show. Please note that none of these comments are personal. I'm just reacting to the outfits. 🧵
IMO, Daniel Craig's outfit has too much velvet. Compare him to Hiroyuki Senada, who wears a similar outfit but ditches the vest. I think this improves the look, as black velvet can suck up a lot of light. The white shirt here provides some needed contrast.
Not a fan of these unusual double-breasted jackets made with one or two button closures. I don't think it improves on the traditional design. The lapels are also too narrow for his frame and the shoes are too inelegant for the outfit.
I said "one of the most," not "the most." But I'm happy to explain why Kapital has been *one of the most* creative, fun, and interesting menswear brands in the last twenty years. Hopefully this thread inspires you to explore the world of offbeat Japanese workwear. 🧵
In 1985, Toshikiyo Hirata built a clothing factory in Kojima District, Okayama, an area known as Japan's denim capital (hence the brand's name). He had just spent time in the US, where he fell in love with vintage jeans, so he wanted to make American workwear using Japanese craft
In 2002, his son Kiro Hirata joined the company. Kiro is immensely creative and borrows heavily on Americana, workwear, and counter-cultural movements. He uses familiar archetypes: the hippie, surf bum, war vet biker, rock star, etc. But designs feel psychedelic.
The first and most obvious is that taste is a social construct shaped by forces such as cultural and financial capital. As Pierre Bourdieu pointed out in his book Distinction, our notions of "Good Taste" is often nothing more than the preferences and habits of the ruling class.
In this sense, judgements of taste tend to be path dependent. Dress shirts are considered to be in "good taste" when they're white or light blue for no other reason than the fact that's what elites wore. Black dress shirts are associated with the lower, sometimes criminal classes
Like a lot of stuff in classic men's dress, the rule of "no white after Labor Day" is rooted in class dynamics during the early 20th century. Many questions can be answered by "what is the aesthetic?" and "who set the rules?" 🧵
During the early 20th century, men's dress was governed by TPO (time, place, and occasion). In England, where we get many of our rules, men did business in London while wearing navy suits and black oxfords. But when in the country, they wore brown tweeds and grained derbies.
This is where we get the rule "no brown in town." The idea was that you were not supposed to wear brown tweeds and brown grained derbies while doing business in London (a rule that held pretty firmly until relatively recently, at least for sectors like finance).
When people think of menswear crafted with a high-degree of workmanship, they think of places such as France, Italy, and the UK. Some may think of Japan. But few will think of India, even though some of the most incredible workmanship is happening there now. Let me show you. 🧵
This thread starts with a premise: quality workmanship speaks for itself regardless of where it's done. Often, people's view of "quality" is colored by where a garment was made. Robert Schooler showed this in a 1965 paper published in Journal of Marketing Research.
As you read this thread, I want you to keep in mind the stories you may have read about European craftsmanship. These stories inspire awe because they're about skilled labor and dedication to one's trade. We should be in no less awe when the same craft happens in India.