5620 G-Star Elwood 3D Low Waist Boyfriend Jeans

This signature G-Star RAW style features a biker-inspired silhouette, with shaped legs and articulated knees for maximum comfort and flatter. Angled thigh seams and moto-inspired panels add a tougher edge.

Fabric

Inza White Stretch Denim

The 5620 3D Low Boyfriend Jeans is crafted from white summery denim with a little stretch and a dry hand-feel.

• Medium weight denim
• Fresh white shade
• Dry and soft hand-feel
• 98% cotton, 2% elastane
• 3D Light Aged Restored 65
• Expertly finished and restored with custom repairs.

Fabric

Astley Stretch Denim

The 5620 3D Low Boyfriend Jeans is crafted from full-bodied denim with a classic denim look and just the right amount of stretch.

• Medium weight indigo denim
• Stretch for movement
• Sustainably made
• 95% cotton, 3% polyester, 2% elastane
• Extreme Painted
• Aged and paint smeared for a vintage-inspired finish.

Fabric

Scatter Denim

The 5620 3D Low Boyfriend Jeans is crafted from full-bodied indigo denim inspired by vintage Japanese denims.

• Indigo denim
• Full-bodied
• Sustainably made
• 100% cotton
• Medium Aged Painted
• Aged and paint smeared for a vintage-inspired finish

5620 G-Star Elwood 3D Slim Jeans

The G-Star Elwood jeans mapped out a new way of thinking about denim when first released. This seasonal version features the same anatomical 3D construction as the original, updated in a current fit.

Fabric

Astley Stretch Denim

The 5620 3D Slim Jeans is crafted from full-bodied denim with a classic denim look and just the right amount of stretch.

• Medium weight indigo denim
• Stretch for movement
• Sustainably made
• 95% cotton, 3% polyester, 2% elastane
• Extreme Painted
• Aged and paint smeared for a vintage-inspired finish.

Fabric

AIDEN STRETCH DENIM

The 5620 3D Slim Jeans is cut from rich denim with a rigid aesthetic and powerful, hidden stretch.

• Medium weight indigo denim
• Excellent stretch and recovery
• Sustainably made
• 75% cotton, 24% polyester, 1% elastane
• Aged and paint smeared for a vintage-inspired finish.
• Heavily laundered for a light, bright finish that normally takes years.

The highlight of the collection Sew Free and Purple Cast jeans.Sew Free construction utilizes a proprietary joining technique to give an unfinished aesthetic and illusion of of absence of seams. The jeans give the impression of not having sewn at all. How far the jeans will give the authentic pukering effect on the seams, though remains to be seen. The purple cast on the jeans gives that new summer look that many consumers might be looking for. Other features on the jeans include custom ‘donut’ brass buttons , vintage advertising imagery taken from the Lee Jeans archives and printed onto the lining of the denim jackets, and the label’s signature branded horsehair patch.

Shinichiro Ishibashi is the designer and creator of Kuon brand from Japan. After serving his apprenticeship at an established tailor in Marunouchi area, Tokyo prefecture, he worked as pattern maker for a regular manufacturer at Paris Collection. In 2014 he became self-employed and started to design for several manufacturers on freelance basis. As from 2016 S/S, he became designer of KUON

KUON , according to him, addresses social agenda via fashion business.

“We believe that fashion possesses power to make people excited. KUON challenges the existing mass-production and consumption approach, instead we propose products and lifestyle where “stylish” and “socially good” can go together. KUON products bridges between people and society. “

Most of the BORO fabric KUON uses is anywhere from 50 to 150 years old. Fabric which is old and about to be thrown away, is used after it has been properly repaired. We can say this is the ultimate in eco-friendliness without the killing of any animals, and it is also easy on the environment. The people who repair the BORO are mothers who live in the Tohoku region, who suffered from the devastating earthquake that occured in Japan four and a half years ago. KUON cherishes the concept of making “stylish” clothing as a fashion statement.

BORO Jacket.This Jacket will be released in February 2016.

These short pants are actually the most labor intensive product that KUON produced Kuon used BORO from about 100 years ago on one on the sides and, for the opposite side, They also used a plain old fabric that they had SASHIKO in Otsushi town. It took about 80 hours in total!

This may be a mountain of treasures for kuon, and yet to many other people it may only be a load of garbage. But when it turns into actual clothes, it becomes so beautiful that many people are moved by it. This is why BORO is so interesting, and why we are so fascinated by it.

Undoing the stitching of a kimono, washing it, and drying it. This is a very important process for KUON, and it is the hardest one. If the kimono has cotton inside, this really becomes a time-consuming job!

KUON Pocket Tee

Reverse side is the essence of KUON.

Traditional Japanese fabric has a width of only about 30cm, so when it is used to make clothing, there will always be several joints.Because you can see where the pieces come together, it is interesting to wear inside out as well.

This is called a ASANOHA by the traditional pattern of the sashiko.

Here are some answers from Mr Shinichiro regarding his brand Kuon. He does not know English and has replied in Japanese. We are publishing the same with hope to convert in English with suitable translation soon !

1. What is the meaning of Kuon and why did you chose it.

KUONは日本語で「永遠」「遠い過去と未来」を意味ãã‚‹ã€Œä¹…遠」という言葉が元になっていまãã€‚

襤褸（BORO）は今から150-50年前の生地でãã€‚私たちは襤褸にéã‚‰ãšå¤ã„けれど素æ´ã‚‰ã—いä¸-界中の生地を現代に甦らせ未来につなげることをテーマのひとつにしていまãã€‚

2. Your collection is supposed to be made of Boro fabrics 50-150 years old. How is that done. Pl explain to us. Does it mean no two garments are same?

襤褸は日本中から探し集めていまãã€‚それらを一度ãã¹ã¦è§£ä½“し私たちのコレクションのデザインに落とし込みまãã€‚

例えばジャケットで考えると、デザインは同じでããŒè¥¤è¤¸ã¯ä¸€ç‚¹ç‰©ãªã®ã§åŒã˜ãƒ‡ã‚¶ã‚¤ãƒ³ã®ã‚¸ãƒ£ã‚±ãƒƒãƒˆã§ã‚‚まったく同じ物はä¸-界にひとつしかありません。

3.How do you think Kuon can achieve a social purpose while making a fashion statement

私たちは20ä¸-紀型の大量生産、大量消費にç-‘問を持っていまãã€‚

もちろんそれによってファッションがここまで進åŒ-したことはとても素æ´ã‚‰ã—いことだと思いまãã€‚

しかし21ä¸-紀に入ってä¸-界中の人々の価値観が大きく変åŒ-し始めていまãã€‚

æ-°ã—いだけの物は次のæ-°ã—い物がçºè¡¨ã•ã‚Œã‚Œã°å¤ããªã‚Šä¾¡å€¤ã‚’失いまãã€‚

しかし美しい物はいつまでも美しいのでãã€‚

夕é½ã¯ã„つ見ても美しいように襤褸にはいつまでも人を惹きつける美しさがあると思いまãã€‚

KUONはファッションを通じてæ-°ã—い価値観の提案をしたいと考えまãã€‚

またKUONで使用ãã‚‹è¥¤è¤¸ã¯ãã®ã¾ã¾ã§ã¯ä½¿ãˆãªã„状態の物を多くありまãã€‚

2011å¹´3月に日本の東北地æ-¹ã«å¤§ããªè¢«å®³ã‚’もたらした地震と津波で被災した岩手県大槌町のお母さんたちに襤褸の補修をお願いしていまãã€‚

このプロジェクトは単なる寄付ではありません。彼女たちは僕たちの大事なパートナーでKUONが大きくなるほどに彼女たちの仕事がç¶ç¶šã‹ã¤å……実しまãã€‚

ファッションには人を元気にワクワクさせる力があると私たちは信じていまãã€‚

150年かけて熟成された生地を現代の人が補修をして甦らせそれをæ-°ã—いファッションにして未来につなげる。

こんなに興奮ãã‚‹ã“とはありません。

4. How will you ensure supply of old Boro fabrics when your brand expands

企業秘密の部分もありまããŒâ€¦

KUONには日本を代表ãã‚‹å¤ç¾Žè¡“の専é-€å®¶ãŒä½•äººã‚‚バックアップをしてくれていまãã€‚

私たちの元には日本中から貴重な襤褸がたくさん集まってきまãã€‚

それでも襤褸はéã‚‰ã‚ŒãŸè³‡æºã§ãã®ã§ç„¡å°½è”µã«ã‚るわけではないので大切に扱っていまãã€‚

同じ襤褸を作ろうとしたら50年後になってしまうわけでãã‹ã‚‰ï¼

日本でも近年投資目的で襤褸の価格が高騰していまãã€‚

僕たちはそういう人たちからは買いません。

なぜならそうãã‚‹ã“とで襤褸が単なる一過性のトレンドで終わってしまい、

私たちの思い描くファッションの理想像とは違ってしまうからでãã€‚

5. Boro fabrics are normally supposed to be about 30 cm wide. Does it make difficult to use these fabrics ?

よくご存知でãã­ã€‚

もともと欧米から洋装が入ってくるまで日本人は着物を着てました。

着物の生地幅は36cmくらいでãã€‚襤褸は両端が破けたりして使えるのは30cmくらいになりまãã€‚

それらをつなぎ合わせて仕立てまãã€‚しかも襤褸は大きさもそれぞれ異なりまãã€‚

その作業は今の工場にとっては難しくæ-­ã‚Œã‚Œã¾ãã®ã§ç§ãŸã¡ãŒäºˆã‚å‡¦ç†ã‚’してから工場に依頼しまãã€‚

このために通常の洋服作りの工程の倍以上のæ‚é-“と労力が掛かると思いまãã€‚

6. When will your collection be available online ?

来年の2月頃にオンラインストアもオープンできるようにæº-å‚中でãã€‚

The main message that one gets from J Brand SS16 lookbook is that LINEN IS IN . “Linen is a huge message for us,” said Bruno -Head of Design- at J Brand’s spring presentation. “It’s not a very stable yarn but the technology has changed so you can use it to do denim.”
J Brand seeks to tackle the hot summer with cool indigo dyed and plain white linens in chambrays and very light weights. Skinny jeans, baby flares, some sexy briefs , bandeaux tops , indigo gowns etc are all part of the season’s collection.

The Milan Fashion week ramp walk played to the theme of play with nomadic attitude bringing to fore the life of a charismatic man, who’s never afraid to explore a new and bold idea of style. The , pseudo , tattoos on the hands added some more zing to the attitude together with some zany flame bleached out jeans and jackets. . On the whole a very playful collection – though a bit weird !

There’s a bohemian elegance to the McQueen woman this season as Sarah Burton draws on the roots and myths of English folklore to bring together the mood of the collection. Burton has also been exploring consistently the idea of heirlooms and found objects. Garments too carry history and hence feel precious and the collection has been finished and treated with a tactile hand, so that materials and surfaces feel aged and familiar.

The people of London’s Spitalfields from the late 17th Century and the Huguenot migrants who arrived as religious refugees were the starting point for Burton, they brought with them a skill in weaving and floral design. Those artisanal crafts were mined to the hilt; along with a love of folklore and the idea of heirloom. Fabrics looked aged and decayed, from gentle frays in the surface of washed silk gowns to jeans with exaggerated cuffs that were shredded to the extreme.

It was bohemian in parts, exotic in others – those Indian-mirrored ivory frock coats being the best example. Denim jeans, mainly selvedge, were highly destructed and then paired with floral designed Indian coats to make up for the destruction!.

Overalls were the main focus of his denim collection as he played around with different looks and even pairing similar fabrics for tops and bottoms. The smocks, the well cut trench etc rounded out the collection. A bit of stripe denims here and there and some odd 80s pairing of shirts and shorts in similar fabric color completed the denim looks. The brand does not experiment much and remains more basic – as Jean Touitou says !