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heinfienbrot · 3 months

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Simon Crompton.

#Menswear #Simon Crompton #Pitti Uomo #Pitti Uomo 105

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lounesdarbois · 6 months

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Pierre Fournier

Tradition: n. f. Transmission de faits historiques, de doctrines religieuses, de légendes, d'âge en âge par voie orale, sans preuve authentique écrite.

Le Littré

Le détaillant et modéliste de vêtement Pierre Fournier a dirigé les magasins Globe dans les années 1970, Hémisphères dans les années 1980, Anatomica depuis 1993. Toujours actif de nos jours il est âgé de 80 ans cette année.

La création de vêtement repose sur l'esthétique et le fonctionnel, deux critères qui renvoient respectivement aux métiers de styliste et de modéliste. Oiseau rare, monsieur Fournier additionne les deux compétences et a bâti le renom de ses magasins sur des vêtements "anatomiques" les mieux pensés possible, adaptés au corps, résistants à l'usure. Un sens du modélisme concentra dès l'époque de Globe son attention sur les vêtements de base, les "basiques" auxquels il conféra le plus de classicisme possible dans le but de les rendre indémodables, au-dessus des modes. La chemise d'ouvrier aura des coutures, des poches, des lignes les plus adaptées à la morphologie et aux mouvements requis par le travail, critères qui ne sont pas à chercher dans un "techwear" futuriste ni dans un "vintage" caduque mais dans la partie de la culture occidentale qui traverse les époques, la Tradition. Savons-nous combien de vêtements ont-été réellement inventés au 20ème siècle ? 4... Et combien de boissons? Une seule (le coca). Il n'y a pas de créateur de vêtement, tant mieux!

Pierre Fournier appliquera les principes traditionnels aussi en matière de chaussure, lorsqu'il fera faire par la firme Alden une gamme spécifique. Le critère étant ici le "chaussant", Fournier va au fond de questions que ni les artisans ni les clients ne se posent plus en matière de confort et de maintien, et ose prescrire aux clients un nouvel étalonnage des pointures appuyé par un argumentaire fruit de 30 ans de pratique du métier. Les clients chausseront désormais 2 à 3 pointures au-dessus de leur taille usuelle. Libérant de l'espace derrière le talon et devant les orteils la chaussure est conçue pour serrer davantage le cou-de-pied, notamment dans la largeur, et demeurer plus lâche sous les contreforts et trépointes. Cette manière de chausser supprime les frottements et soutient la voûte plantaire, et au plan esthétique elle donne une chaussure étroite et longue qui est l'idéal en la matière.

Produire une chaussure pensée pour s'adapter à la forme du pied, un vêtement pensé pour suivre les lignes du corps, aboutissent à une forme définitive à laquelle tout ajout devient un excédent et tout retranchement une amputation. La tradition populaire française s'est toujours tenue à équidistance de deux écueils : d'abord de la mode qui spécule sur une suspension du jugement des masses abruties par le prêt-à-porter (soumission par pression horizontale), ensuite du sartorialisme qui est au contraire l'expression tapageuse d'élites visant à se singulariser (snobisme par les musts).

La qualité suppose l'appelation d'origine contrôlée, qui elle même suppose un terroir protégeant une fabrication locale par un prolétariat choyé. Lorsque l'on comprend le modèle économique que suppose le Made in France on veut relire les théoriciens des modèles économiques durables, organisés au bénéfice des producteurs et des consommateurs compris comme un seul et même peuple.

Le sujet du vêtement de qualité ouvre tant de perspectives : esthétiques certes mais encore économiques et politiques. Quand nous comprenons la quête esthétique de Pierre Fournier nous percevons que ce standard de qualité renvoie, pour des raisons de coût de fabrication aux thèses de William Morris (L'art et l'artisanat, Comment nous vivons) et à celles de tous les syndicalistes français transcourant : George Sorel, Joseph Proudhon, Charles Maurras, Joseph Fourrier, Edouard Berth. C'est-à-dire le retour aux sujets sérieux, aux questions fondamentales : comment produire dans le pays, par le peuple du pays, pour le peuple du pays. Comment produire local, qualitatif, en circuit court, sans gaspillage, en rémunérant correctement les travailleurs locaux? Quelles sont les pré-requis qu'un Made in France généralisé suppose au plan de l'émission de monnaie, au plan fiscal, au plan des prix de l'immobilier ? Une ébauche de réponse tient dans le discours de George Marchais (PCF) à Montigny en 1981 : protection du prolétariat, arrêt de l'invasion migratoire et éviction des clandestins (xénélasie), hausse des salaires par une baisse des charges sur les entreprises. Mesures de bon sens pourtant déclaration de guerre à la Bourse qui a besoin d'un sous-prolétariat invasif pour abaisser les salaires et le niveau de conscience du prolétariat du pays… Mais mesures nécessaires pour que la veste en flanelle de chez Anatomica qui dure 20 ans vous coûte 80 euros et non pas 750 euros comme aujourd'hui.

Dans un Made in France bien pensé, l'ouvrier a les moyens d'acheter pour lui-même les produits de qualité qu'il fabrique par son savoir-faire et c'est justice: voiture, maison, vêtement, sont à lui non parce qu'il est un consommateur interchangeable mais parce qu'il en est le producteur exclusif.

Voila l'un des fruits de l'idéal syndical, ou chrétien, ou corporatiste, ou libertarien, ou fasciste, ou socialiste, appelez le comme vous voudrez: vêtir le peuple avec intelligence, avec des pièces sobres, élégantes, fonctionnelles, vêtir un peuple mis en mesure de discerner le vrai du faux, ayant recouvré sa propre tradition que les marchands de drouille lui avaient confisqué, et lui offrir des garde-robes réduites en quantité mais haussées en qualité donc en durabilité. Opposer au trop-plein des armoires, au côté malsain de l'accumulation, la saine épure de quelques pièces très pensées que l'on portera 30 ans, rapées jusqu'à la doublure. Charme d'une patine qui raconte une histoire, la nôtre.

(écriteau de porte d'entrée du magasin Anatomica)

La création de vêtement est un sujet propice aux transpositions et analogies: stylisme morphologique, modélisme anatomique, sont la recherche non d'une forme éternelle, mais de l'esprit éternel d'une forme idéale, la plus exacte, la plus fonctionnelle, la mieux ajustée, une forme adaptée tant au mouvement qu'à l'immobilité. "Il n'existe pas de voiture éternelle, le mythe de la 2 CV n'est pas intemporel du tout" me dit un jour Pierre Fournier. Il existe toutefois selon l'usage et le mode de production disponible, une voiture la plus fonctionnelle possible à un moment donné. La différence entre Anatomica et The Kooples par exemple, est la même distance qui a séparé Gabriel Voisin d'André Citroën au début du 20ème siècle: d'un côté l'aristocratie ouvrière où chaque travailleur maîtrise la totalité du travail à accomplir, de l'autre côté l'assembleur de pièces précalibrées dont le modèle industriel repose sur la division des tâches, la parcellisation, le contrôle panoptique, qui aboutira au Fordisme.

Enfin Pierre Fournier a fait montre d'une certaine attitude devant la vie. Nous aimons ces paris tenus, ces investissements risqués, l'insolence d'ouvrir Avenue de la Grande-Armée en 1980 un magnifique magasin racheté à un monsieur de 1900. Nous aimons le goût très sûr pour le vêtement français ancien vendu aux "branchés" de l'époque, pour cette manière de chercher dans le passé les meilleures pièces et de les replacer dans le sens du temps présent. Nous aimons que Fournier n'ait jamais fait de marketing mais que le seul bouche à oreille l'ait placé comme la référence du style français à l'étranger, notamment en Angleterre et surtout au Japon où il est aujourd'hui abondamment distribué (3 magasins là-bas contre 1 seul en France).

Un vrai tailleur étudie l'anatomie puis le modélisme aussi sûrement qu'un séminariste étudie la philosophie puis la théologie. L'un s'occupe du corps, l'autre prend soin de l'âme. Mais si la philosophie est la servante de la théologie, c'est bien le vêtement qui est au service du corps... Dans un temps où le monde inverti proclame l'exact contraire, Pierre Fournier est l'un des seuls détaillants à avoir cru en la Tradition et à l'avoir mise en pratique. Merci monsieur Fournier!

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newguyontheblock · 1 year

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Source: Pinterest. Simon Crompton. He has an awesome looking beard. Wish I had his beard!!!

#Simon Crompton

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crustacean-on-main · 8 months

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This image is, for now, posted without comment:

#i need a menswear autism tag #menswear autism #incidentally also #simon crompton

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nofatclips · 7 months

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Thunderbird by cEvin Key and The Subconscious Electronic Orchestra from the album Resonance

#music #cevin key #kevin william crompton #kevin crompton #artoffact #artoffact records #cevin key and the subconscious electronic orchestra #the subconscious electronic orchestra #subconscious electronic orchestra #guilherme pires #guilherme stella pires #artwork #allen jaeger #simon paul #Bandcamp

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105nt · 1 year

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Strike Alumni TB Tweets # 2

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oxfords---notbrogues · 3 months

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Simon Crompton

Ph: @heinfienbrot

#menswear #men's style #men's fashion #street style #style #street fashion #fashion #pitti #pitti uomo

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lazbotronence · 20 days

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Written by BAFTA-winning team Laurence Rickard & Martha Howe-Douglas (Ghosts, Horrible Histories) with Chris McCausland, hilarity and hijinks will commence on production this month at Sky Studios Elstree with the special set to air on Sky and NOW this Christmas.

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Chris McCausland & Lee Mack to star in Sky Original festive special ‘Bad Tidings’ [x]

Rebekah Staton, Sarah Alexander and Ben Crompton join the cast as production commences at Sky Studios Elstree.

Chris McCausland (The Wonders of the World I Can't See) and Lee Mack (Doctor Who, Inside No. 9, Brassic) star in Sky Original ‘Bad Tidings’, a mischievous festive special about two perpetually feuding neighbours in Stockport who become unlikely heroes, saving their street from notorious burglars with wacky booby traps and Great British banter. Written by BAFTA-winning team Laurence Rickard & Martha Howe-Douglas (Ghosts, Horrible Histories) with Chris McCausland, hilarity and hijinks will commence on production this month at Sky Studios Elstree with the special set to air on Sky and NOW this Christmas.

Joining the cast alongside McCausland and Mack are Rebekah Staton, Sarah Alexander, Ben Crompton, Emily Coates, Josiah Eloi, Millie Kiss, Tupele Dorgu, Sunil Patel, Susan Kyd and Donna Preston.

‘Bad Tidings’ follows a tradition of successful festive Sky Originals loved by Sky customers and star a wealth of British talent. Last year, ‘The Heist Before Christmas’ starring James Nesbitt, Timothy Spall and Laura Donnelly, was the biggest rating Sky Original of 2023 and followed 2022’s ‘Christmas Carole’ staring Suranne Jones, and 2021’s ‘The Amazing Mr Blunden’ staring Simon Callow, Tamsin Greig and Mark Gatiss.

This year’s Sky Original Christmas special revolves around grumpy home-security expert Neil (Mack) and his neighbour Scott (McCausland), who insists on keeping his Christmas lights illuminated all-year-round. And mixing up their bins, criticising Neil’s ‘project’ car and generally winding him up. Basically, Scott’s a git. He’s also blind and all the other neighbours think he’s great. 

When Scott is appointed head of the Neighbourhood Watch, Neil is the only one to question his suitability for the role. Their tit-for-tat argument culminates in Neil triggering a power-cut across the entire street. On Christmas Eve. 

Everyone is forced to evacuate, and Neil and Scott are left alone and on guard. But the local crime family decide to rob every house on the street in a single night, and the pair must set aside their differences to defeat them. They’ve got no lights, no cameras, no alarms and one of them is blind. Which might just be an advantage… 

Chris McCausland said: “Talk about a back of an envelope idea that has got out of hand, we are now making a Christmas comedy film and it's going to be awesome. I can't wait to get up to some hilarious mayhem with Lee and bring some festive spirit into people's living rooms this Christmas!”

Lee Mack added: “I love Chris McCausland, I love the script and I Iove Christmas. Where do I sign?”

‘Bad Tidings’ is written by Laurence Rickard & Martha Howe-Douglas with Chris McCausland, and is produced by Sky Studios. The film is directed by Tim Kirkby with Adnan Ahmed from Sky Studios producing. Anil Gupta Executive Produces for Sky Studios. NBCUniversal Global TV Distribution handles international sales on behalf of Sky Studios.

#further info via sky #laurence rickard #larry rickard #martha howe douglas #lee mack #chris mccausland #sky tv #christmas

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ilovedressshoes · 2 months

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Simon Crompton

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amphibious-thing · 2 years

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Homosexuality was both silenced and taboo. Most historians agree that the concept of homosexuality is modern because the idea of sexual identity was not fully established until the nineteenth century. Jo Stanley has suggested that many women who fell in love with women could not identify or understand their feelings. Historians of transvestism Ruldolf Dekker and Lotte van de Pol have argued that 'it is logical that these women would think: if I covet a woman, I must be a man'. Lesbians may have thought that cross-dressing and acting like men allowed them to love women during a time in which Europeans could not conceive of the idea of lesbianism.

Rebecca Alexandra Simon, Pirate Queens: The Lives of Anne Bonny & Mary Read, p81-82

This is the sort of absolute bullshit I’m talking about when I talk about the myth that sexual orientation and sexual identity didn’t exist until the nineteenth century. To be clear when I talk about this I’m not trying to downplay the pathologization of homosexuality that happened throughout the nineteenth and twentieth centuries and the effects that had on queer people. I’m simply talking about this myth that pre-nineteenth century people had no understanding of their own sexual desires and no sexual identity.

First of all it is just blatantly untrue to suggest that 18th century Europeans “could not conceive of the idea of lesbianism”.

I often see the fact that sex between women was legal in England used as evidence that 18th century Europeans didn’t know that sex between women was possible. But people seem to be forgetting that England is not the entirety of Europe.

There are cases of women being executed for having sex with women across Europe, they would be drowned or even burned alive. (see Louis Crompton, The Myth of Lesbian Impunity Capital Laws from 1270 to 1791)

Often the wording of sodomy laws were vague but could be interpreted as covering sex between women. Often supplementary documents would clarify for example a 1780’s French legal book defines sodomy as:

the crime of any man with a man, of any woman with a woman; even of a man with a woman, when, by unimaginable debauchery, they do not use the ordinary path of procreation.

(Michael David Sibalis, The Regulation of Male Homosexuality in Revolutionary and Napoleonic France, 1789-1815, p81)

However some laws explicitly criminalised sex between women. For example the Constitutions of the Holy Roman Emporer Charles V, 1532, states:

if anyone commits impurity with a beast, or a man with a man, or a woman with a woman, they have forfeited their lives and shall, after the common custom, be sentenced to death by burning.

And the 1574 statutes of the Italian town Treviso were very clear:

If any person (leaving the natural use) has sexual relations with another, that is, a man with a man if they are fourteen years old or more, or a woman with a woman if they are twelve or more, by committing the vice of sodomy-popularly known as “buzerones” or “fregatores”-and this has been revealed to the city magistrates, the detected person, if a male, must be stripped of all his clothes and fastened to a stake in the Street of the Locusts with a nail or rivet driven through his male member, and shall remain there all day and all night under a reliable guard, and the following day be burned outside the city. If, however, a woman commits this vice or sin against nature, she shall [also] be fastened naked to a stake in the Street of the Locusts and shall remain there all day and night under a reliable guard, and the following day shall be burned outside the city.

(Crompton, p18)

But even if we are just talking about England there are references to lesbianism in 18th century England. In fact the earliest known usage of the word lesbian (in the sense of a woman who is sexually or romantically attracted to other women) is from The Toast by William King published in 1732:

this little Woman gave Myra more Pleasure than all the rest of her Lovers and Mistresses. She was therefore dignified with the Title of Chief of the Tribades or Lesbians.

Hester Thrale Piozzi described the Ladies of Llangollen as “damned Sapphists” (Emma Donoghue, Passions Between Women, p168) and suspected Anne Damer of “liking her own Sex in a criminal Way”. (Diary of Hester Thrale Piozzi, 17 June 1790) Damer was also satirised as a lesbian in the 1778 poem A Sapphick Epistle and the 1794 pamphlet The Whig Club.

There were many references to the ancient Greek poet Sappho who was often credited with inventing the concept of sex between women. A Sapphick Epistle describes Sappho as “the first Tommy the world has upon record; but to do her justice, though there hath been many Tommies since, yet we never had but one Sappho.”

“Tommy” being another word for a women who were sexually interested in women. We see this word used in the 1773 poem The Adulteress:

Women and Men, in these unnat’ral Times,

Are guilty equal of unnat’ral crimes:

Woman with Woman act the Manly Part,

And kiss and press each other to the heart.

Unnat’ral Crimes like these my Satire vex;

I know a thousand Tommies ‘mongst the Sex:

Sappho was also invoked in the 1749 pamphlet Satan’s Harvest Home:

Sappho, as she was one of the wittiest Women that ever the World bred, so she though with Reason, it would be expected she should make some Additions to a Science in which Womankind had been so successful: What dose she do then? Not content with our Sex, begins Amours with her own, and teaches the Female World a new Sort of Sin, call’d the Flats, that was follow’d not only in Lucian’s Time, but is practis’d frequently in Turkey, as well as at Twickenham at this day.

“Flats” refers to the “game of flats” or “game at flats” which was an 18th century euphemism for tribadism and is referenced again in Satan’s Harvest Home:

I am credibly informed, in order to render the Scheme of Iniquity still more extensive amongst us, a new and most abominable Vice has got footing among the W—n of Q—–y, by some call’d the Game at Flats;

So while its true that sex between women wasn’t illegal in England this wasn’t because the entire country was ignorant to the possibility.

The myth that there was no sense of identity associated with sexual attraction is easily disproven by the molly subculture. In 18th century London there was a community of men who had sex with men, who identified as mollies. Mollies would meet in molly houses, they had their own traditions, slang, songs and even had sobriquets known as maiden names that identified them as part of the group. (see Mother Clap's Molly House by Rictor Norton)

There is also evidence of 18th century men understanding their attraction to other men as something innate and natural to them. For example Gerrit van Amerongen stated at his 1776 sodomy trial that men who had sex with men were “born with it and they can be as amorous to each other as man and wife can be.” (Anna Clark, The Chevalier d’Eon, Rousseau, and New Ideas of Gender, Sex and the Self in the Late Eighteenth Century)

Lillian Faderman suggests that women were less likely to recognise their sexual attraction to each other because they would have “internalized the view of females as having little sexual passion” and as they bore “no burden of visible proof as men do, they might deny it even to themselves”. (Surpassing the Love of Men, p16) However Chris White rather succinctly dismisses Faderman’s argument: “it seems hardly credible that simply because women did not have penile erections they would not have recognized how sexual arousal felt and what it meant”. (Emma Donoghue, Passions Between Women, p122)

Taking all of this into consideration it seems somewhat absurd to claim that “women who fell in love with women could not identify or understand their feelings”.

And this is not even getting into the “if I covet a woman, I must be a man” statement which is a whole other can of worms to unpack.

#queer history #another angry rant about 18th century sexuality for y’all cause this book annoyed me

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thearmoury · 1 year

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This Horsehide Leather Double Rider Jacket was made in collaboration with The Real McCoy’s, a reproduction brand well known for taking inspiration from vintage Americana. Using the same materials and manufacturing methods from the 1940’s and 50s, founder Hitoshi Tsujimoto and his team of craftsmen use an incredible amount of detail to meet the specs and quality of the original garments. A longtime favorite of menswear writer Simon Crompton of @permanentstylelondon, our exclusive jacket is made up in a front quarter heavy-duty horsehide, engineered to be roughed up. Wear it in good stead, don’t be precious with it, and you will be rewarded with a beautifully patinated garment over many years of wear. (at The Armoury New York) https://www.instagram.com/p/ClzC4v4PLtx/?igshid=NGJjMDIxMWI=

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chicinsilk · 1 year

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US Vogue January 1951

The open-back, fruit-pink lavallière designed for burnt-sugar corduroy trousers. A new way to buckle a lavallière makes it a halter, which is buttoned like suspenders on the top of the pants. A jacket at the waist, to warm up or cover up. The suit is in Crompton corduroy; the halter is Bates cotton. By Brigance. Gold-plated earrings, Simone Creations bracelets. Lipstick, nail polish, “Coral Fan” by Chen Yu.

La lavallière dos-nu, rose fruit, conçue pour un pantalon en velours côtelé de sucre brûlé. Une nouvelle façon de boucler une lavallière en fait un licou, qui se boutonne comme des bretelles sur le haut du pantalon. Une veste à la taille, pour se réchauffer ou se couvrir. Le costume est en velours côtelé Crompton; le licou est en coton Bates. Par Brigance. Boucles d'oreilles plaquées or, bracelets Simone Creations. Rouge à lèvres, vernis à ongles, « Coral Fan » de Chen Yu.

Model/ModèleJean Patchett

Photo Clifford Coffin vogue archive

#us vogue #january 1951 #fashion 50s #spring/summer #printemps/été #crompton #brigance of sportsmaker #chen yu #jean patchett #clifford coffin

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lounesdarbois · 1 month

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L'association M65 + denim + cordovan

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yoshimihasegawa · 2 years

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Happy Birthday Kamoshita san. It was a great memory of @vitalebarberiscanonico1663 opening day of the archive room and the 350th Anniversary with VBC Creative Director Francesco Barberis Canonico,Simon Crompton @permanentstylelondon and @takahirockitalia of @liveranoandliverano . Wishing you an extraordinarily wonderful day and year ahead, having the opportunity to get together again! @kamoshita #vbc #vbcfabrucs #archive #madeinitaly (Vitale Barberis Canonico) https://www.instagram.com/p/Ci6eAOgL1ad/?igshid=NGJjMDIxMWI=

#vbc #vbcfabrucs #archive #madeinitaly

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nofatclips · 1 year

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Say Something by Emma-Jean Thackray from the album Yellow - Director: Avesta Keshtmand

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notyouraveragegentleman · 2 years

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Mr. Simon Crompton

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