Welcome to the second part of my Denimio x Studio D’Artisan collaboration dissection!
For those who wish to read a little more about shuttle loom history and a story of Japanese denim, you’ll want to check out my recent review of the DM003 Kakishibu jeans, where I cover the history of Toyoda looms, the significance of the G3 denim utilized on these collaboration models, as well as some less commonly known details about the brand of Studio D’Artisan.
Today, however, our focus is on the Denimio x Studio D’Artisan DM004 Sumi jeans, the second & final model of Denimio’s collaboration project with Studio D’Artisan for the jeans maker’s 40th anniversary. Let’s have a look.
The G3 Concept
Whilst I’ve written extensively about the G3 denim in the previous review, I’ll recap it here for your ease of reading, and so, I quote myself:
“Ever since the creation of power looms in the 18th century, fueling the industrial revolution in Europe, loom technology has undergone rapid progression. After millennia of producing fabrics by hand on primitive hand looms, the progression from the first steam powered loom to computer-controlled projectile looms took less than two centuries.
Sakichi Toyoda, founder of the various modern Toyota companies, invented Japan’s first power loom at the end of the 19th century, around the same time that Draper produced their first automatic loom. Realizing that Japan had fallen behind Western powers in terms of textile technology by almost a century, and understanding that modern civilizations are being built on mechanization, Toyoda devoted much of his life to developing and improving Japanese looms.
Toyoda’s first power loom in 1896 was to spawn a series of powered shuttle looms in the next half-century. In 1903, he invented the world’s first shuttle-change automatic loom, named the Type T. The next major step was the Type G, created in 1924, being a non-stop shuttle-change improvement on the Type T, featuring automatic shuttle-change mechanics, improving loom efficiency. The Type G was well known in its time for the quality of woven textiles, despite the ‘high’ speed (by 1920’s standards) with which it could weave fabrics.
Sakichi Toyoda passed away in 1930, leaving behind a very important legacy, and Toyoda Automatic Loom Works – a branch of Toyoda created after the success of the Type G – continued to improve upon the original.
The machine which created the denim fabric showcased here is the Type G3 automatic shuttle loom, a later version of the Type G which was produced for a brief period of time in the 1950’s. G3’s short career came much after the advent of modern rapier & projectile looms in the 1940’s, so that by the time G3 was invented, denim manufacturing had already begun shifting towards modern weaving. During these later years of the 1950’s, the golden age of American denim, shuttle looms were well & truly on their way out.
This is not to mention the fact that the Japanese had not attempted to create denim on their looms until the 1970’s, and, as mentioned in my previous review of Big John jeans, it was only in 1983 that the first shuttle-loomed, artisan quality Japanese denim jeans came into being. It is interesting to think that the G3, much like its ancestors, had been created to produce Japanese work fabrics such as sail cloth, and were not utilized to manufacture denim until recent times
Across the Pacific, in the home of denim, Draper produced its very last shuttle looms, the X-3, in the 1940’s. As American mills closed down one after the other over the 20th century, even Cone Mills’ White Oak plant had to put away their Draper looms into storage.
Toyoda’s G3 loom, over the past 60 years, began slowly fading into history. In the current day, none of the earlier Type G looms are commercially operational, and I am told that only one mill in Japan continues to operate Type G3 looms. Denim woven on the G3 have been popularized in the past few years among denim enthusiasts, with brands such as Warehouse, Trophy Clothing and, of course, Studio D’Artisan, among others, using G3 denim for their jeans.
So, what is so special about denim created on Type G3 looms then?
Consider that many Asian countries continue to build shuttle looms of course, and that if you pay enough dollars you’ll be able to obtain hand-loomed denim (which is a higher tier of product), not to mention modern looms can be programmed to recreate any type of fabric you might want, even reproduction denims…
Well, now that White Oak plant has closed down, and its Draper X-3 looms have stopped their chatter, denim woven on G3 looms are some of the very oldest shuttle loomed fabrics which can be obtained, giving us a clue as to what denim woven in the 1950’s might have been like.
What the G3 offers us is perhaps fictionalized romance – a denim which never was, but could have been, many decades ago.“
The Sumi Concept
Sumi, in the Japanese language, can be translated as either charcoal or ink. Yet, if you see the Chinese character of 墨 on the leather patch, the meaning of ‘ink’ is clear.
The history of ink is a long and complex one, intrinsically tied with how our ancestors chose to express themselves, either through words or painting. Various types of natural inks have been used for doodling since our ancestors lived in caves, and yet it was not until the ancient Egyptians and Chinese, more than 4000 years ago, started collecting soot from fires when artificial ink was invented. Some of the earliest ink remnants, apart from prehistoric cave paintings, came in the form of ancient Chinese hieroglyphs written on oracle bones / turtle shells.
By the time of the Warring States, Chinese scholars were doing their literary scribbling with ink, giving rise to an artistic and literary culture that is still part of the fabric of most Asian societies, including Japan. The gentleman scholar had four friends, it was said: ink stone, ink stick, brush and paper.
Artifacts containing ink, usually in the form of Chinese characters or paintings, were steadily imported into Japan from the second century AD, although the Japanese – who did not have a system for writing at the time – could not decipher the Chinese glyph. It was not until the fifth century AD, with the massive import of Chinese writing and Buddhism into Japan, that the use of ink in its variously related art forms became established in Japan.
1500 years after the introduction of ink and writing, Japan has developed, of course, its own culture in regards to these technologies. The theme of this collaboration – Sumi – generally means black ink. Given the very wide historical & cultural experiences of black ink across the old world, we can say it is not a tradition exclusive to Japan or any one culture, though, doubtless, the art of calligraphy & monochrome ink painting is very much an East Asian tradition, to which Japanese artists and scholars have contributed.
There is no significant tradition of using actual writing ink to dye clothing, certainly not denim in the old West, and thus the use of ink dye on the weft in this G3 denim is a pretty unique modern innovation.
The Cut
Similar to the DM003, the cut of the DM004 Sumi jeans is the exclusive High Rise Relax Tapered fit – a variation of the recently popular high tapered cut.
In the photos here, the jeans are factory once-washed and at day 4 of wear.
I am wearing a sample size 36, with a height of 185 cm and mass of 94 kg.
The rise is medium-high.
The top block is comfortable, with a relatively roomy seat.
Whilst the thighs are generous, the taper from the knee down is fairly strong, ending with the hem at 19 cm across.
The inseam comes in at 86 cm after the factory wash.
The Fabric
This G3 denim is a genuine shuttle loomed affair.
It is 14 oz unsanforised, constructed in right-hand twill, featuring true loom-chatter.
The combination of vertical slubbing on the warp face and strong horizontal textures emerging from the weft face creates a distinct & intense type of variegation that can be easily differentiated from the usual artificial ‘big slub’ denims.
This denim is slightly bumpy and rough to the touch, with a good amount of body.
Of interest, the Sumi weft version of the G3 denim is slightly less rigid compared with the Kakishibu weft version of the same weave.
There is no excess fluffiness or hairiness, and the denim is not neppy, or otherwise exaggerated.
The dense, tight grain is a product of loom-chatter and slow weaving.
The overall colour tone is that of red-cast indigo, which can shift to green-grey depending on how the light catches the Sumi weft.
There is an enhanced darkness to its blue colour due to the grey-coloured weft. The red and purple tinges are not quite as intense compared with the Kakishibu version.
The less intense weft colouration results in more definition on the warp face, highlighting the visual characteristics of the G3 weave with more clarity compared with the darker Kakishibu denim.
The weft face shows a fairly intense grain also, dominated by horizontal slubbing.
Here, we see the selvedge line is ink coloured. There is a brown tone to the ink’s grey.
A mixture of African and Australian cottons make up the yarns, though the details of this are not known to me.
The Details
The DM004 features a wheat-coloured leather patch, embossed with art work of Denimio’s beetle next to ink sticks, in the sumi-e style of illustration.
The Chinese character for ink feature at the top right corner of the patch.
Studio D’Artisan’s current generation arc features on the back-pockets.
The back pockets are half-lined with ink dyed twill cloth.
The pockets are sized well, and will carry work-style wallets without issue.
The same ink twill cloth feature for the front-pockets, which are long enough to be practical.
The coin pocket feature woven tags for Studio D’Artisan and Denimo, and has been created with a true sashiko fabric which is also dyed with ink.
The coin pocket is wide & deep, large enough to facilitate actual use.
The Made in Japan woven tag features on the inside of the waist-band, just behind the leather patch.
The hardware on this pair is the same as the DM003, and I’m a fan.
Recessed metal buttons feature on the five-button fly.
Copper rivets are punch-thru and custom embossed.
The tips of the burrs have been conveniently flattened.
The hidden rivets are customised, and neatly tucked beneath the back pockets.
The sewing on this pair of jeans is similar to the DM003 also – old school, reproduction style.
Lemon and tea coloured threads dominate, although black, blue & white threads also feature internally.
I count at least 6 thread sizes and 3 different types of chain-stitching, imparting a distinct vintage-style aesthetic in the sewing.
Beefy chain-stitching can be found in the top block.
Single needle and lock-stitch sewing are used on seams and edges.
The fly is neatly made, locked on the edges.
The inseam closure is well sewn.
The buttons holes are sewn, then cut – a sturdier construct.
The belt loops are raised in the center, and bar-tacked twice over each attachment.
Potential areas of mechanical stress are neatly reinforced.
The chain-stitch on the hem is even and regular.
Like the DM003, this pair of jeans is very well made.
My Thoughts
After my review of the DM003 Kakishibu jeans, having decided that I am a fan of persimmon dyed denim, I’ve come into the examination of this Sumi collaboration model with expectations in mind.
These Denimio x Studio D’Artisan DM004 Sumi jeans can be seen as a more understated counterpart to the DM003. If the persimmon jeans were wild and fun, these ink jeans would then be a more mature design.
This Sumi version isn’t more of the same compared with the Kakishibu jeans, however. I have noticed that the change in weft dye has made quite a bit of difference, which I shall lay out in dot form:
- The Kakishibu is a darker toned denim
- The Kakishibu is stiffer despite the same weave
- The Sumi allows better appreciation of warp character and textures
- The Sumi has an indigo tone which is more similar to traditional denim
Thus, even if the G3 weave is similar across both models, the different weft dyes showcase this old-school denim in rather different ways. As I mentioned in the previous review, G3 denim is very special – a true old world fabric – and good study into our hobby can be made by comparing this G3 denim with more modern types of Japanese selvedge denim.
Otherwise, the sewing, hardware and detailing on the DM003 and DM004 models are largely similar, the only other differences being the colours of the patch, sashiko pocket and pocket cloth.
I do feel like, for bonus points, the leather patches on both jeans could have been dyed with the respective feature dyes. Other than that, I’m pretty happy with the detailing on these jeans. Every component, from the sashiko fabric to the antiqued metal buttons, adds to the unique vibe of these collaboration jeans and proves to be good quality.
You might find too, the darker sashiko coin pocket on the DM004 to be less loud compared with its counterpart on the DM003. This factor, in addition to the more traditional tone of the overall indigo colour, leads me to consider the Sumi model to be more toned down compared with the Kakishibu jeans.
Of course, with the bright coloured leather patch and the vintage-style contrast thread colours, even these Sumi jeans can hardly be called stealthy. Then again, Studio D’Artisan jeans aren’t meant to be stealthy at all!
The DM004 continues the theme of East meets West. The combination of Eastern dye stuff, detailing & weaving with the quintessential American garment & fabric makes perfect sense for me. This is a true celebration of our Japanese denim hobby.
Apart from this fusion of themes and ideas, playfulness is a core component of Studio D’Artisan’s brand identity too, and I do think that Denimio has achieved a good balance here in their collaboration with Clipper & Indy – fun, but not crazy. (Keep in mind special edition D’Artisan jeans can get very wild!)
Denimio’s exclusive lifter’s style fit on these collaboration jeans fit me very well, much better than Studio D’Artisan’s standard cuts. These once-washed Sumi jeans were pretty comfortable from day one, and settled in very quickly – a pleasure to wear, certainly, with a very nice silhouette.
Denimio has developed this cut to work best on chunkier or more athletic builds; it is better suited to most Western body shapes compared with D’Artisan’s regular cuts, which cater to their domestic customers. If you are a fan of this type of lifter’s fit, keep in mind that this particular cut is exclusive to Denimio.
In contemplating some of my favourite jeans over the years, I must say that I’ve always preferred ‘fusion’ style garments over strict Americana. I like the fact that Japanese folks are doing things well and adding their own spices to the mix, so subtle acknowledgements of Japanese crafts is an aspect of our denim hobby which appeals to me.
Obviously, sometimes the flavor is much too strong – think Samurai Jeans’ special edition stuff – but a good balance has been achieved on this Sumi model. It’s Japanese for sure, but not obnoxiously so. Rather than yelling at you about ninjas and katana blades, the beauty and colours of Japan are showcased gently on these jeans.
I must say too, that the Sumi ink dye works a treat on the weft, and rather than stealing the spotlight for itself, the ink has given the G3 loomed denim a good deal of oomph. It highlights the unique combination of vertical and horizontal variegation on this denim by adding an extra dimension to the tonal shifts in colour, something which the indigo dye cannot achieve by itself.
I can highly recommend this DM004 Sumi model to most raw denim fans, especially people who have an interest in Japanese denim history, coloured wefts or fabric textures. Strict reproduction hobbyists or pure Americana followers need not apply. The DM004 is a very interesting pair of jeans, and I’d wager you will not be bored whilst wearing it!
At $289 USD, the Denimio x Studio D’Artisan DM004 is well priced for a pair of special edition D’Artisan jeans, and is one of my favourite releases from their 40th anniversary range.
Definitely check out the pre-order page at Denimio [linked here] – I hear they are dropping very soon.[:zh]小猪（Studio D’Artisan）在国内最出名的是107裤型，被认为是很多人的养牛入门裤。入门后对面料、染色的要求就高了，比如本次Indigo Shrimp（靛蓝虾）所介绍的DM004墨染就是小猪旗下最优质的G3系列就很不错！
DM004，从DM开头就可以看出这款是Denimio和小猪的联名款，采用了豊田织机制作的G3面料，超级丰富的细节和质感可以说是在同等价位中“笑傲江湖”！
The G3 Concept
18世纪的现代织机带来了纺织业的工业革命席卷了整个欧洲，日本在19世纪末赶上了这个浪潮，豊田（TOYOTA）创始人佐吉豊田出品了第一代自动化的织机，这种编织也就是生产窄幅织物的“G型织机”，截止今天这个系列的G9和G10织机是最常见的织机型号。而其前身就是G3这个现在看来低效的织布机。
G3的时代可以回溯到半个世纪以前，因为老旧所以需要人守着操作、实时调节微修、精心保养。现在还在使用的G3在全球也是屈指可数，1小时大概能织布5米左右，远远落后于现代的织机。经济效益上面大大落后于他的后辈们，可是却也有着独特的粗糙感和不均匀感。这种微小的差别会因为一点点改变而不存在，所以想拥有最理想的纹理和质感，就必须得靠“G3”来完成。
至今为止即便是日本现在也只有一家厂家有操作G3织机，一线的日牛品牌如Warehouse, Trophy Clothing和Studio D’Artisan都把G3面料作为秘密武器引入了自己的特色产品的制作中。
那么G3织机到底有什么神秘之处呢？
很多亚洲国家依然在制造类似的梭织机，甚至如果钱够多的话手工织的个人定制丹宁面料也不在话下，现代改良织机更是可以按照各种要求定制。但历史是唯一的，上世纪的老资格随着白橡树（全球最大的牛仔面料制造商 ）的关闭，其X-3 织机退出历史舞台，G3现在是在用织机中最老的织机可以生产原汁原味有上世纪50年代DNA的真古董。
墨染
这款DM004的主題是最初用於書本印刷的“墨”！“墨”是公元1500年前自中國商朝時期引進到日本，這也被認為是汉字被引入日本的時期。面料使用天然染料，INDIGO（经线） X （緯线）相織染色，從而使顏色呈現非常深而強烈的墨色。
如同小猪一直坚守的日本价值一样，用有历史温度的G3面料组合上千年历史的墨元素，代表了不仅仅是日本更是中国、亚洲的共同文化价值。 另外值得一提的是墨鲜少被用做服装创造的元素，尤其是在丹宁的历史之中甚为罕见，本款面料把墨染的纬线和靛蓝染经线组合的创意是非常有心意的一个创意组合！
裤型
同DM003（柿渋染）一样，DM004（墨染）的裤型也是特色的高腰宽松锥裤型，近年来市场上最受欢迎的裤型之一。
上图是我着用4天的上身效果图，身高：185cm 体重：94kg 上身尺寸：ow-36
客观的说腰型更像是中腰，腰际空间充裕蹲坐无压力，大腿的空间也预留的足够，从膝盖处收紧，并与裤脚处收紧（19cm），86的内长可以满足绝大部分大长腿的要求。
面料
日牛中最受赞誉的面料之一，即便是中文也可以找到很多分享。14oz，右棱斜纹的经典祝贺。
加上G3面料特有织法比较紧密,毫不疏松…舒坦。
小猪又被叫做布料大事，布料推陈出新经常让新老玩家眼前一亮惊喜连连。比如这款，靛蓝和墨色的经纬组合形成一种很特别的惊艳视觉效果，上手质感卓越，在普遍的传统蓝牛面前独树一帜，非常具有辨识性。
这款面料初到手摸着有点硬，竹节感穿上很有“感”，穿上后的磨合过程很可以“期待”。
靛蓝+墨=深蓝，蓝到深处自然“黑”，乍一看视觉效果感觉是条黑牛，别被自己的眼睛给骗了~
墨染的刺し子零钱袋也一起养的过程非常值得期待，Denimio和小猪的小标加持隐藏着裤子的小骄傲，仅几十条的限量发售标准的售完无！
总体来说这条DM004的视觉印象偏黑色调，属于泛红（ red-cast）靛蓝染牛仔裤，但有意思的是因为墨染的纬线，裤子随着着用痕迹累积，纬线落色的加深裤子落色将向绿/灰色进化。
墨色的纬线加深了蓝色的色调，红色和蓝色的染色在DM004这款中没有柿渋那款中那么显色。
反面看能更清楚看到经线、纬线的纵落，墨染的纬线给了落色更多的可能性、层次感可以直观感受到G3面料的扎实感。
棉线用的美国棉和澳洲面混织，兼具柔软和韧性。
细节
DM004墨染的皮牌是大麦色，皮牌上denimio的logo跃然牌上和汉字“墨”和几根墨条一起点题。
小猪家标志袋花这次也没有落下， 仔细看还可以看到在袋花中部隐藏了一根中线，由墨染的线穿袋而过，随着着用痕迹累积同袋花的落色争相辉映，会各有什么样的发回非常值得期待。
很有意思的角度，从里面看后袋长这样的，技术上讲够大了，男士钱包塞进去不成问题！
五金细节同DM004柿渋一样，粉丝算我一个!
做旧的纽扣和标准的五扣非常质朴
铜的五金旧化效果非常值得期待
连内袋也进口主题是墨染的，走线做工非常平整。
使用小猪独家的特口铆钉扎实紧致的夯过双层牛仔布牢牢盯住各个角落
old school老式经典风格的走线同DM003一样很到位，挑不出来神秘毛病复刻的很有诚意。
柠檬和茶色的走线在靛蓝和墨色中加了一股活泼的亮点，随着着用痕迹退化落色成更沉稳
我数了一下一共6中这两款裤子一共使用了6种尺寸的线和3中不同的走针方法来应对不同的需求，虽然不是什么很醒目的优点但可见用心了！
腰部上端解释的车轮链形缝法缝
单针和锁线缝纫双线合并让内线和裆部更牢固
很整齐到位的走线
为了加固纽扣每个纽扣都有锁边防止走形
皮带环定在腰带处中间位置，双趟走线让皮带环更扎实牢固
“重点”部位多重走线防护
裤脚的走线也是绝对呵护标准的整齐、结实
我的总结
DM003柿渋把我拉进了柿染的粉丝群，在没有尝试这条墨染之前我的态度是被怀疑占据的。但结果证明技术方面两个几乎是孪生兄弟，除了染色和皮牌之外，其他的细节几乎都是一样的，一样的G3面料，一样的裤型设计，一样的五金亮点。不过气质还是不一样的，墨染的DM004更有沉稳，虽没有柿渋染的DM003那么抢眼的颜色但胜在百搭，能搭配不同的风格。
[:de]The Studio d’Artisan jeans is surely making spur in the community over and over. This time, read our blogger’s beloved review by Indigo Shrimp on SDA x Denimio DM004 Sumi here!
Welcome to the second part of my Denimio x Studio D’Artisan collaboration dissection!
For those who wish to read a little more about shuttle loom history and a story of Japanese denim, you’ll want to check out my recent review of the DM003 Kakishibu jeans, where I cover the history of Toyoda looms, the significance of the G3 denim utilized on these collaboration models, as well as some less commonly known details about the brand of Studio D’Artisan.
Today, however, our focus is on the Denimio x Studio D’Artisan DM004 Sumi jeans, the second & final model of Denimio’s collaboration project with Studio D’Artisan for the jeans maker’s 40th anniversary. Let’s have a look.
The G3 Concept
Whilst I’ve written extensively about the G3 denim in the previous review, I’ll recap it here for your ease of reading, and so, I quote myself:
“Ever since the creation of power looms in the 18th century, fueling the industrial revolution in Europe, loom technology has undergone rapid progression. After millennia of producing fabrics by hand on primitive hand looms, the progression from the first steam powered loom to computer-controlled projectile looms took less than two centuries.
Sakichi Toyoda, founder of the various modern Toyota companies, invented Japan’s first power loom at the end of the 19th century, around the same time that Draper produced their first automatic loom. Realizing that Japan had fallen behind Western powers in terms of textile technology by almost a century, and understanding that modern civilizations are being built on mechanization, Toyoda devoted much of his life to developing and improving Japanese looms.
Toyoda’s first power loom in 1896 was to spawn a series of powered shuttle looms in the next half-century. In 1903, he invented the world’s first shuttle-change automatic loom, named the Type T. The next major step was the Type G, created in 1924, being a non-stop shuttle-change improvement on the Type T, featuring automatic shuttle-change mechanics, improving loom efficiency. The Type G was well known in its time for the quality of woven textiles, despite the ‘high’ speed (by 1920’s standards) with which it could weave fabrics.
Sakichi Toyoda passed away in 1930, leaving behind a very important legacy, and Toyoda Automatic Loom Works – a branch of Toyoda created after the success of the Type G – continued to improve upon the original.
The machine which created the denim fabric showcased here is the Type G3 automatic shuttle loom, a later version of the Type G which was produced for a brief period of time in the 1950’s. G3’s short career came much after the advent of modern rapier & projectile looms in the 1940’s, so that by the time G3 was invented, denim manufacturing had already begun shifting towards modern weaving. During these later years of the 1950’s, the golden age of American denim, shuttle looms were well & truly on their way out.
This is not to mention the fact that the Japanese had not attempted to create denim on their looms until the 1970’s, and, as mentioned in my previous review of Big John jeans, it was only in 1983 that the first shuttle-loomed, artisan quality Japanese denim jeans came into being. It is interesting to think that the G3, much like its ancestors, had been created to produce Japanese work fabrics such as sail cloth, and were not utilized to manufacture denim until recent times
Across the Pacific, in the home of denim, Draper produced its very last shuttle looms, the X-3, in the 1940’s. As American mills closed down one after the other over the 20th century, even Cone Mills’ White Oak plant had to put away their Draper looms into storage.
Toyoda’s G3 loom, over the past 60 years, began slowly fading into history. In the current day, none of the earlier Type G looms are commercially operational, and I am told that only one mill in Japan continues to operate Type G3 looms. Denim woven on the G3 have been popularized in the past few years among denim enthusiasts, with brands such as Warehouse, Trophy Clothing and, of course, Studio D’Artisan, among others, using G3 denim for their jeans.
So, what is so special about denim created on Type G3 looms then?
Consider that many Asian countries continue to build shuttle looms of course, and that if you pay enough dollars you’ll be able to obtain hand-loomed denim (which is a higher tier of product), not to mention modern looms can be programmed to recreate any type of fabric you might want, even reproduction denims…
Well, now that White Oak plant has closed down, and its Draper X-3 looms have stopped their chatter, denim woven on G3 looms are some of the very oldest shuttle loomed fabrics which can be obtained, giving us a clue as to what denim woven in the 1950’s might have been like.
What the G3 offers us is perhaps fictionalized romance – a denim which never was, but could have been, many decades ago.“
The Sumi Concept
Sumi, in the Japanese language, can be translated as either charcoal or ink. Yet, if you see the Chinese character of 墨 on the leather patch, the meaning of ‘ink’ is clear.
The history of ink is a long and complex one, intrinsically tied with how our ancestors chose to express themselves, either through words or painting. Various types of natural inks have been used for doodling since our ancestors lived in caves, and yet it was not until the ancient Egyptians and Chinese, more than 4000 years ago, started collecting soot from fires when artificial ink was invented. Some of the earliest ink remnants, apart from prehistoric cave paintings, came in the form of ancient Chinese hieroglyphs written on oracle bones / turtle shells.
By the time of the Warring States, Chinese scholars were doing their literary scribbling with ink, giving rise to an artistic and literary culture that is still part of the fabric of most Asian societies, including Japan. The gentleman scholar had four friends, it was said: ink stone, ink stick, brush and paper.
Artifacts containing ink, usually in the form of Chinese characters or paintings, were steadily imported into Japan from the second century AD, although the Japanese – who did not have a system for writing at the time – could not decipher the Chinese glyph. It was not until the fifth century AD, with the massive import of Chinese writing and Buddhism into Japan, that the use of ink in its variously related art forms became established in Japan.
1500 years after the introduction of ink and writing, Japan has developed, of course, its own culture in regards to these technologies. The theme of this collaboration – Sumi – generally means black ink. Given the very wide historical & cultural experiences of black ink across the old world, we can say it is not a tradition exclusive to Japan or any one culture, though, doubtless, the art of calligraphy & monochrome ink painting is very much an East Asian tradition, to which Japanese artists and scholars have contributed.
There is no significant tradition of using actual writing ink to dye clothing, certainly not denim in the old West, and thus the use of ink dye on the weft in this G3 denim is a pretty unique modern innovation.
The Cut
Similar to the DM003, the cut of the DM004 Sumi jeans is the exclusive High Rise Relax Tapered fit – a variation of the recently popular high tapered cut.
In the photos here, the jeans are factory once-washed and at day 4 of wear.
I am wearing a sample size 36, with a height of 185 cm and mass of 94 kg.
The rise is medium-high.
The top block is comfortable, with a relatively roomy seat.
Whilst the thighs are generous, the taper from the knee down is fairly strong, ending with the hem at 19 cm across.
The inseam comes in at 86 cm after the factory wash.
The Fabric
This G3 denim is a genuine shuttle loomed affair.
It is 14 oz unsanforised, constructed in right-hand twill, featuring true loom-chatter.
The combination of vertical slubbing on the warp face and strong horizontal textures emerging from the weft face creates a distinct & intense type of variegation that can be easily differentiated from the usual artificial ‘big slub’ denims.
This denim is slightly bumpy and rough to the touch, with a good amount of body.
Of interest, the Sumi weft version of the G3 denim is slightly less rigid compared with the Kakishibu weft version of the same weave.
There is no excess fluffiness or hairiness, and the denim is not neppy, or otherwise exaggerated.
The dense, tight grain is a product of loom-chatter and slow weaving.
The overall colour tone is that of red-cast indigo, which can shift to green-grey depending on how the light catches the Sumi weft.
There is an enhanced darkness to its blue colour due to the grey-coloured weft. The red and purple tinges are not quite as intense compared with the Kakishibu version.
The less intense weft colouration results in more definition on the warp face, highlighting the visual characteristics of the G3 weave with more clarity compared with the darker Kakishibu denim.
The weft face shows a fairly intense grain also, dominated by horizontal slubbing.
Here, we see the selvedge line is ink coloured. There is a brown tone to the ink’s grey.
A mixture of African and Australian cottons make up the yarns, though the details of this are not known to me.
The Details
The DM004 features a wheat-coloured leather patch, embossed with art work of Denimio’s beetle next to ink sticks, in the sumi-e style of illustration.
The Chinese character for ink feature at the top right corner of the patch.
Studio D’Artisan’s current generation arc features on the back-pockets.
The back pockets are half-lined with ink dyed twill cloth.
The pockets are sized well, and will carry work-style wallets without issue.
The same ink twill cloth feature for the front-pockets, which are long enough to be practical.
The coin pocket feature woven tags for Studio D’Artisan and Denimo, and has been created with a true sashiko fabric which is also dyed with ink.
The coin pocket is wide & deep, large enough to facilitate actual use.
The Made in Japan woven tag features on the inside of the waist-band, just behind the leather patch.
The hardware on this pair is the same as the DM003, and I’m a fan.
Recessed metal buttons feature on the five-button fly.
Copper rivets are punch-thru and custom embossed.
The tips of the burrs have been conveniently flattened.
The hidden rivets are customised, and neatly tucked beneath the back pockets.
The sewing on this pair of jeans is similar to the DM003 also – old school, reproduction style.
Lemon and tea coloured threads dominate, although black, blue & white threads also feature internally.
I count at least 6 thread sizes and 3 different types of chain-stitching, imparting a distinct vintage-style aesthetic in the sewing.
Beefy chain-stitching can be found in the top block.
Single needle and lock-stitch sewing are used on seams and edges.
The fly is neatly made, locked on the edges.
The inseam closure is well sewn.
The buttons holes are sewn, then cut – a sturdier construct.
The belt loops are raised in the center, and bar-tacked twice over each attachment.
Potential areas of mechanical stress are neatly reinforced.
The chain-stitch on the hem is even and regular.
Like the DM003, this pair of jeans is very well made.
My Thoughts
After my review of the DM003 Kakishibu jeans, having decided that I am a fan of persimmon dyed denim, I’ve come into the examination of this Sumi collaboration model with expectations in mind.
These Denimio x Studio D’Artisan DM004 Sumi jeans can be seen as a more understated counterpart to the DM003. If the persimmon jeans were wild and fun, these ink jeans would then be a more mature design.
This Sumi version isn’t more of the same compared with the Kakishibu jeans, however. I have noticed that the change in weft dye has made quite a bit of difference, which I shall lay out in dot form:
- The Kakishibu is a darker toned denim
- The Kakishibu is stiffer despite the same weave
- The Sumi allows better appreciation of warp character and textures
- The Sumi has an indigo tone which is more similar to traditional denim
Thus, even if the G3 weave is similar across both models, the different weft dyes showcase this old-school denim in rather different ways. As I mentioned in the previous review, G3 denim is very special – a true old world fabric – and good study into our hobby can be made by comparing this G3 denim with more modern types of Japanese selvedge denim.
Otherwise, the sewing, hardware and detailing on the DM003 and DM004 models are largely similar, the only other differences being the colours of the patch, sashiko pocket and pocket cloth.
I do feel like, for bonus points, the leather patches on both jeans could have been dyed with the respective feature dyes. Other than that, I’m pretty happy with the detailing on these jeans. Every component, from the sashiko fabric to the antiqued metal buttons, adds to the unique vibe of these collaboration jeans and proves to be good quality.
You might find too, the darker sashiko coin pocket on the DM004 to be less loud compared with its counterpart on the DM003. This factor, in addition to the more traditional tone of the overall indigo colour, leads me to consider the Sumi model to be more toned down compared with the Kakishibu jeans.
Of course, with the bright coloured leather patch and the vintage-style contrast thread colours, even these Sumi jeans can hardly be called stealthy. Then again, Studio D’Artisan jeans aren’t meant to be stealthy at all!
The DM004 continues the theme of East meets West. The combination of Eastern dye stuff, detailing & weaving with the quintessential American garment & fabric makes perfect sense for me. This is a true celebration of our Japanese denim hobby.
Apart from this fusion of themes and ideas, playfulness is a core component of Studio D’Artisan’s brand identity too, and I do think that Denimio has achieved a good balance here in their collaboration with Clipper & Indy – fun, but not crazy. (Keep in mind special edition D’Artisan jeans can get very wild!)
Denimio’s exclusive lifter’s style fit on these collaboration jeans fit me very well, much better than Studio D’Artisan’s standard cuts. These once-washed Sumi jeans were pretty comfortable from day one, and settled in very quickly – a pleasure to wear, certainly, with a very nice silhouette.
Denimio has developed this cut to work best on chunkier or more athletic builds; it is better suited to most Western body shapes compared with D’Artisan’s regular cuts, which cater to their domestic customers. If you are a fan of this type of lifter’s fit, keep in mind that this particular cut is exclusive to Denimio.
In contemplating some of my favourite jeans over the years, I must say that I’ve always preferred ‘fusion’ style garments over strict Americana. I like the fact that Japanese folks are doing things well and adding their own spices to the mix, so subtle acknowledgements of Japanese crafts is an aspect of our denim hobby which appeals to me.
Obviously, sometimes the flavor is much too strong – think Samurai Jeans’ special edition stuff – but a good balance has been achieved on this Sumi model. It’s Japanese for sure, but not obnoxiously so. Rather than yelling at you about ninjas and katana blades, the beauty and colours of Japan are showcased gently on these jeans.
I must say too, that the Sumi ink dye works a treat on the weft, and rather than stealing the spotlight for itself, the ink has given the G3 loomed denim a good deal of oomph. It highlights the unique combination of vertical and horizontal variegation on this denim by adding an extra dimension to the tonal shifts in colour, something which the indigo dye cannot achieve by itself.
I can highly recommend this DM004 Sumi model to most raw denim fans, especially people who have an interest in Japanese denim history, coloured wefts or fabric textures. Strict reproduction hobbyists or pure Americana followers need not apply. The DM004 is a very interesting pair of jeans, and I’d wager you will not be bored whilst wearing it!
At $289 USD, the Denimio x Studio D’Artisan DM004 is well priced for a pair of special edition D’Artisan jeans, and is one of my favourite releases from their 40th anniversary range.
Definitely check out the pre-order page at Denimio [linked here] – I hear they are dropping very soon.[:es]The Studio d’Artisan jeans is surely making spur in the community over and over. This time, read our blogger’s beloved review by Indigo Shrimp on SDA x Denimio DM004 Sumi here!
Welcome to the second part of my Denimio x Studio D’Artisan collaboration dissection!
For those who wish to read a little more about shuttle loom history and a story of Japanese denim, you’ll want to check out my recent review of the DM003 Kakishibu jeans, where I cover the history of Toyoda looms, the significance of the G3 denim utilized on these collaboration models, as well as some less commonly known details about the brand of Studio D’Artisan.
Today, however, our focus is on the Denimio x Studio D’Artisan DM004 Sumi jeans, the second & final model of Denimio’s collaboration project with Studio D’Artisan for the jeans maker’s 40th anniversary. Let’s have a look.
The G3 Concept
Whilst I’ve written extensively about the G3 denim in the previous review, I’ll recap it here for your ease of reading, and so, I quote myself:
“Ever since the creation of power looms in the 18th century, fueling the industrial revolution in Europe, loom technology has undergone rapid progression. After millennia of producing fabrics by hand on primitive hand looms, the progression from the first steam powered loom to computer-controlled projectile looms took less than two centuries.
Sakichi Toyoda, founder of the various modern Toyota companies, invented Japan’s first power loom at the end of the 19th century, around the same time that Draper produced their first automatic loom. Realizing that Japan had fallen behind Western powers in terms of textile technology by almost a century, and understanding that modern civilizations are being built on mechanization, Toyoda devoted much of his life to developing and improving Japanese looms.
Toyoda’s first power loom in 1896 was to spawn a series of powered shuttle looms in the next half-century. In 1903, he invented the world’s first shuttle-change automatic loom, named the Type T. The next major step was the Type G, created in 1924, being a non-stop shuttle-change improvement on the Type T, featuring automatic shuttle-change mechanics, improving loom efficiency. The Type G was well known in its time for the quality of woven textiles, despite the ‘high’ speed (by 1920’s standards) with which it could weave fabrics.
Sakichi Toyoda passed away in 1930, leaving behind a very important legacy, and Toyoda Automatic Loom Works – a branch of Toyoda created after the success of the Type G – continued to improve upon the original.
The machine which created the denim fabric showcased here is the Type G3 automatic shuttle loom, a later version of the Type G which was produced for a brief period of time in the 1950’s. G3’s short career came much after the advent of modern rapier & projectile looms in the 1940’s, so that by the time G3 was invented, denim manufacturing had already begun shifting towards modern weaving. During these later years of the 1950’s, the golden age of American denim, shuttle looms were well & truly on their way out.
This is not to mention the fact that the Japanese had not attempted to create denim on their looms until the 1970’s, and, as mentioned in my previous review of Big John jeans, it was only in 1983 that the first shuttle-loomed, artisan quality Japanese denim jeans came into being. It is interesting to think that the G3, much like its ancestors, had been created to produce Japanese work fabrics such as sail cloth, and were not utilized to manufacture denim until recent times
Across the Pacific, in the home of denim, Draper produced its very last shuttle looms, the X-3, in the 1940’s. As American mills closed down one after the other over the 20th century, even Cone Mills’ White Oak plant had to put away their Draper looms into storage.
Toyoda’s G3 loom, over the past 60 years, began slowly fading into history. In the current day, none of the earlier Type G looms are commercially operational, and I am told that only one mill in Japan continues to operate Type G3 looms. Denim woven on the G3 have been popularized in the past few years among denim enthusiasts, with brands such as Warehouse, Trophy Clothing and, of course, Studio D’Artisan, among others, using G3 denim for their jeans.
So, what is so special about denim created on Type G3 looms then?
Consider that many Asian countries continue to build shuttle looms of course, and that if you pay enough dollars you’ll be able to obtain hand-loomed denim (which is a higher tier of product), not to mention modern looms can be programmed to recreate any type of fabric you might want, even reproduction denims…
Well, now that White Oak plant has closed down, and its Draper X-3 looms have stopped their chatter, denim woven on G3 looms are some of the very oldest shuttle loomed fabrics which can be obtained, giving us a clue as to what denim woven in the 1950’s might have been like.
What the G3 offers us is perhaps fictionalized romance – a denim which never was, but could have been, many decades ago.“
The Sumi Concept
Sumi, in the Japanese language, can be translated as either charcoal or ink. Yet, if you see the Chinese character of 墨 on the leather patch, the meaning of ‘ink’ is clear.
The history of ink is a long and complex one, intrinsically tied with how our ancestors chose to express themselves, either through words or painting. Various types of natural inks have been used for doodling since our ancestors lived in caves, and yet it was not until the ancient Egyptians and Chinese, more than 4000 years ago, started collecting soot from fires when artificial ink was invented. Some of the earliest ink remnants, apart from prehistoric cave paintings, came in the form of ancient Chinese hieroglyphs written on oracle bones / turtle shells.
By the time of the Warring States, Chinese scholars were doing their literary scribbling with ink, giving rise to an artistic and literary culture that is still part of the fabric of most Asian societies, including Japan. The gentleman scholar had four friends, it was said: ink stone, ink stick, brush and paper.
Artifacts containing ink, usually in the form of Chinese characters or paintings, were steadily imported into Japan from the second century AD, although the Japanese – who did not have a system for writing at the time – could not decipher the Chinese glyph. It was not until the fifth century AD, with the massive import of Chinese writing and Buddhism into Japan, that the use of ink in its variously related art forms became established in Japan.
1500 years after the introduction of ink and writing, Japan has developed, of course, its own culture in regards to these technologies. The theme of this collaboration – Sumi – generally means black ink. Given the very wide historical & cultural experiences of black ink across the old world, we can say it is not a tradition exclusive to Japan or any one culture, though, doubtless, the art of calligraphy & monochrome ink painting is very much an East Asian tradition, to which Japanese artists and scholars have contributed.
There is no significant tradition of using actual writing ink to dye clothing, certainly not denim in the old West, and thus the use of ink dye on the weft in this G3 denim is a pretty unique modern innovation.
The Cut
Similar to the DM003, the cut of the DM004 Sumi jeans is the exclusive High Rise Relax Tapered fit – a variation of the recently popular high tapered cut.
In the photos here, the jeans are factory once-washed and at day 4 of wear.
I am wearing a sample size 36, with a height of 185 cm and mass of 94 kg.
The rise is medium-high.
The top block is comfortable, with a relatively roomy seat.
Whilst the thighs are generous, the taper from the knee down is fairly strong, ending with the hem at 19 cm across.
The inseam comes in at 86 cm after the factory wash.
The Fabric
This G3 denim is a genuine shuttle loomed affair.
It is 14 oz unsanforised, constructed in right-hand twill, featuring true loom-chatter.
The combination of vertical slubbing on the warp face and strong horizontal textures emerging from the weft face creates a distinct & intense type of variegation that can be easily differentiated from the usual artificial ‘big slub’ denims.
This denim is slightly bumpy and rough to the touch, with a good amount of body.
Of interest, the Sumi weft version of the G3 denim is slightly less rigid compared with the Kakishibu weft version of the same weave.
There is no excess fluffiness or hairiness, and the denim is not neppy, or otherwise exaggerated.
The dense, tight grain is a product of loom-chatter and slow weaving.
The overall colour tone is that of red-cast indigo, which can shift to green-grey depending on how the light catches the Sumi weft.
There is an enhanced darkness to its blue colour due to the grey-coloured weft. The red and purple tinges are not quite as intense compared with the Kakishibu version.
The less intense weft colouration results in more definition on the warp face, highlighting the visual characteristics of the G3 weave with more clarity compared with the darker Kakishibu denim.
The weft face shows a fairly intense grain also, dominated by horizontal slubbing.
Here, we see the selvedge line is ink coloured. There is a brown tone to the ink’s grey.
A mixture of African and Australian cottons make up the yarns, though the details of this are not known to me.
The Details
The DM004 features a wheat-coloured leather patch, embossed with art work of Denimio’s beetle next to ink sticks, in the sumi-e style of illustration.
The Chinese character for ink feature at the top right corner of the patch.
Studio D’Artisan’s current generation arc features on the back-pockets.
The back pockets are half-lined with ink dyed twill cloth.
The pockets are sized well, and will carry work-style wallets without issue.
The same ink twill cloth feature for the front-pockets, which are long enough to be practical.
The coin pocket feature woven tags for Studio D’Artisan and Denimo, and has been created with a true sashiko fabric which is also dyed with ink.
The coin pocket is wide & deep, large enough to facilitate actual use.
The Made in Japan woven tag features on the inside of the waist-band, just behind the leather patch.
The hardware on this pair is the same as the DM003, and I’m a fan.
Recessed metal buttons feature on the five-button fly.
Copper rivets are punch-thru and custom embossed.
The tips of the burrs have been conveniently flattened.
The hidden rivets are customised, and neatly tucked beneath the back pockets.
The sewing on this pair of jeans is similar to the DM003 also – old school, reproduction style.
Lemon and tea coloured threads dominate, although black, blue & white threads also feature internally.
I count at least 6 thread sizes and 3 different types of chain-stitching, imparting a distinct vintage-style aesthetic in the sewing.
Beefy chain-stitching can be found in the top block.
Single needle and lock-stitch sewing are used on seams and edges.
The fly is neatly made, locked on the edges.
The inseam closure is well sewn.
The buttons holes are sewn, then cut – a sturdier construct.
The belt loops are raised in the center, and bar-tacked twice over each attachment.
Potential areas of mechanical stress are neatly reinforced.
The chain-stitch on the hem is even and regular.
Like the DM003, this pair of jeans is very well made.
My Thoughts
After my review of the DM003 Kakishibu jeans, having decided that I am a fan of persimmon dyed denim, I’ve come into the examination of this Sumi collaboration model with expectations in mind.
These Denimio x Studio D’Artisan DM004 Sumi jeans can be seen as a more understated counterpart to the DM003. If the persimmon jeans were wild and fun, these ink jeans would then be a more mature design.
This Sumi version isn’t more of the same compared with the Kakishibu jeans, however. I have noticed that the change in weft dye has made quite a bit of difference, which I shall lay out in dot form:
- The Kakishibu is a darker toned denim
- The Kakishibu is stiffer despite the same weave
- The Sumi allows better appreciation of warp character and textures
- The Sumi has an indigo tone which is more similar to traditional denim
Thus, even if the G3 weave is similar across both models, the different weft dyes showcase this old-school denim in rather different ways. As I mentioned in the previous review, G3 denim is very special – a true old world fabric – and good study into our hobby can be made by comparing this G3 denim with more modern types of Japanese selvedge denim.
Otherwise, the sewing, hardware and detailing on the DM003 and DM004 models are largely similar, the only other differences being the colours of the patch, sashiko pocket and pocket cloth.
I do feel like, for bonus points, the leather patches on both jeans could have been dyed with the respective feature dyes. Other than that, I’m pretty happy with the detailing on these jeans. Every component, from the sashiko fabric to the antiqued metal buttons, adds to the unique vibe of these collaboration jeans and proves to be good quality.
You might find too, the darker sashiko coin pocket on the DM004 to be less loud compared with its counterpart on the DM003. This factor, in addition to the more traditional tone of the overall indigo colour, leads me to consider the Sumi model to be more toned down compared with the Kakishibu jeans.
Of course, with the bright coloured leather patch and the vintage-style contrast thread colours, even these Sumi jeans can hardly be called stealthy. Then again, Studio D’Artisan jeans aren’t meant to be stealthy at all!
The DM004 continues the theme of East meets West. The combination of Eastern dye stuff, detailing & weaving with the quintessential American garment & fabric makes perfect sense for me. This is a true celebration of our Japanese denim hobby.
Apart from this fusion of themes and ideas, playfulness is a core component of Studio D’Artisan’s brand identity too, and I do think that Denimio has achieved a good balance here in their collaboration with Clipper & Indy – fun, but not crazy. (Keep in mind special edition D’Artisan jeans can get very wild!)
Denimio’s exclusive lifter’s style fit on these collaboration jeans fit me very well, much better than Studio D’Artisan’s standard cuts. These once-washed Sumi jeans were pretty comfortable from day one, and settled in very quickly – a pleasure to wear, certainly, with a very nice silhouette.
Denimio has developed this cut to work best on chunkier or more athletic builds; it is better suited to most Western body shapes compared with D’Artisan’s regular cuts, which cater to their domestic customers. If you are a fan of this type of lifter’s fit, keep in mind that this particular cut is exclusive to Denimio.
In contemplating some of my favourite jeans over the years, I must say that I’ve always preferred ‘fusion’ style garments over strict Americana. I like the fact that Japanese folks are doing things well and adding their own spices to the mix, so subtle acknowledgements of Japanese crafts is an aspect of our denim hobby which appeals to me.
Obviously, sometimes the flavor is much too strong – think Samurai Jeans’ special edition stuff – but a good balance has been achieved on this Sumi model. It’s Japanese for sure, but not obnoxiously so. Rather than yelling at you about ninjas and katana blades, the beauty and colours of Japan are showcased gently on these jeans.
I must say too, that the Sumi ink dye works a treat on the weft, and rather than stealing the spotlight for itself, the ink has given the G3 loomed denim a good deal of oomph. It highlights the unique combination of vertical and horizontal variegation on this denim by adding an extra dimension to the tonal shifts in colour, something which the indigo dye cannot achieve by itself.
I can highly recommend this DM004 Sumi model to most raw denim fans, especially people who have an interest in Japanese denim history, coloured wefts or fabric textures. Strict reproduction hobbyists or pure Americana followers need not apply. The DM004 is a very interesting pair of jeans, and I’d wager you will not be bored whilst wearing it!
At $289 USD, the Denimio x Studio D’Artisan DM004 is well priced for a pair of special edition D’Artisan jeans, and is one of my favourite releases from their 40th anniversary range.
Definitely check out the pre-order page at Denimio [linked here] – I hear they are dropping very soon.[:fr]The Studio d’Artisan jeans is surely making spur in the community over and over. This time, read our blogger’s beloved review by Indigo Shrimp on SDA x Denimio DM004 Sumi here!
Welcome to the second part of my Denimio x Studio D’Artisan collaboration dissection!
For those who wish to read a little more about shuttle loom history and a story of Japanese denim, you’ll want to check out my recent review of the DM003 Kakishibu jeans, where I cover the history of Toyoda looms, the significance of the G3 denim utilized on these collaboration models, as well as some less commonly known details about the brand of Studio D’Artisan.
Today, however, our focus is on the Denimio x Studio D’Artisan DM004 Sumi jeans, the second & final model of Denimio’s collaboration project with Studio D’Artisan for the jeans maker’s 40th anniversary. Let’s have a look.
The G3 Concept
Whilst I’ve written extensively about the G3 denim in the previous review, I’ll recap it here for your ease of reading, and so, I quote myself:
“Ever since the creation of power looms in the 18th century, fueling the industrial revolution in Europe, loom technology has undergone rapid progression. After millennia of producing fabrics by hand on primitive hand looms, the progression from the first steam powered loom to computer-controlled projectile looms took less than two centuries.
Sakichi Toyoda, founder of the various modern Toyota companies, invented Japan’s first power loom at the end of the 19th century, around the same time that Draper produced their first automatic loom. Realizing that Japan had fallen behind Western powers in terms of textile technology by almost a century, and understanding that modern civilizations are being built on mechanization, Toyoda devoted much of his life to developing and improving Japanese looms.
Toyoda’s first power loom in 1896 was to spawn a series of powered shuttle looms in the next half-century. In 1903, he invented the world’s first shuttle-change automatic loom, named the Type T. The next major step was the Type G, created in 1924, being a non-stop shuttle-change improvement on the Type T, featuring automatic shuttle-change mechanics, improving loom efficiency. The Type G was well known in its time for the quality of woven textiles, despite the ‘high’ speed (by 1920’s standards) with which it could weave fabrics.
Sakichi Toyoda passed away in 1930, leaving behind a very important legacy, and Toyoda Automatic Loom Works – a branch of Toyoda created after the success of the Type G – continued to improve upon the original.
The machine which created the denim fabric showcased here is the Type G3 automatic shuttle loom, a later version of the Type G which was produced for a brief period of time in the 1950’s. G3’s short career came much after the advent of modern rapier & projectile looms in the 1940’s, so that by the time G3 was invented, denim manufacturing had already begun shifting towards modern weaving. During these later years of the 1950’s, the golden age of American denim, shuttle looms were well & truly on their way out.
This is not to mention the fact that the Japanese had not attempted to create denim on their looms until the 1970’s, and, as mentioned in my previous review of Big John jeans, it was only in 1983 that the first shuttle-loomed, artisan quality Japanese denim jeans came into being. It is interesting to think that the G3, much like its ancestors, had been created to produce Japanese work fabrics such as sail cloth, and were not utilized to manufacture denim until recent times
Across the Pacific, in the home of denim, Draper produced its very last shuttle looms, the X-3, in the 1940’s. As American mills closed down one after the other over the 20th century, even Cone Mills’ White Oak plant had to put away their Draper looms into storage.
Toyoda’s G3 loom, over the past 60 years, began slowly fading into history. In the current day, none of the earlier Type G looms are commercially operational, and I am told that only one mill in Japan continues to operate Type G3 looms. Denim woven on the G3 have been popularized in the past few years among denim enthusiasts, with brands such as Warehouse, Trophy Clothing and, of course, Studio D’Artisan, among others, using G3 denim for their jeans.
So, what is so special about denim created on Type G3 looms then?
Consider that many Asian countries continue to build shuttle looms of course, and that if you pay enough dollars you’ll be able to obtain hand-loomed denim (which is a higher tier of product), not to mention modern looms can be programmed to recreate any type of fabric you might want, even reproduction denims…
Well, now that White Oak plant has closed down, and its Draper X-3 looms have stopped their chatter, denim woven on G3 looms are some of the very oldest shuttle loomed fabrics which can be obtained, giving us a clue as to what denim woven in the 1950’s might have been like.
What the G3 offers us is perhaps fictionalized romance – a denim which never was, but could have been, many decades ago.“
The Sumi Concept
Sumi, in the Japanese language, can be translated as either charcoal or ink. Yet, if you see the Chinese character of 墨 on the leather patch, the meaning of ‘ink’ is clear.
The history of ink is a long and complex one, intrinsically tied with how our ancestors chose to express themselves, either through words or painting. Various types of natural inks have been used for doodling since our ancestors lived in caves, and yet it was not until the ancient Egyptians and Chinese, more than 4000 years ago, started collecting soot from fires when artificial ink was invented. Some of the earliest ink remnants, apart from prehistoric cave paintings, came in the form of ancient Chinese hieroglyphs written on oracle bones / turtle shells.
By the time of the Warring States, Chinese scholars were doing their literary scribbling with ink, giving rise to an artistic and literary culture that is still part of the fabric of most Asian societies, including Japan. The gentleman scholar had four friends, it was said: ink stone, ink stick, brush and paper.
Artifacts containing ink, usually in the form of Chinese characters or paintings, were steadily imported into Japan from the second century AD, although the Japanese – who did not have a system for writing at the time – could not decipher the Chinese glyph. It was not until the fifth century AD, with the massive import of Chinese writing and Buddhism into Japan, that the use of ink in its variously related art forms became established in Japan.
1500 years after the introduction of ink and writing, Japan has developed, of course, its own culture in regards to these technologies. The theme of this collaboration – Sumi – generally means black ink. Given the very wide historical & cultural experiences of black ink across the old world, we can say it is not a tradition exclusive to Japan or any one culture, though, doubtless, the art of calligraphy & monochrome ink painting is very much an East Asian tradition, to which Japanese artists and scholars have contributed.
There is no significant tradition of using actual writing ink to dye clothing, certainly not denim in the old West, and thus the use of ink dye on the weft in this G3 denim is a pretty unique modern innovation.
The Cut
Similar to the DM003, the cut of the DM004 Sumi jeans is the exclusive High Rise Relax Tapered fit – a variation of the recently popular high tapered cut.
In the photos here, the jeans are factory once-washed and at day 4 of wear.
I am wearing a sample size 36, with a height of 185 cm and mass of 94 kg.
The rise is medium-high.
The top block is comfortable, with a relatively roomy seat.
Whilst the thighs are generous, the taper from the knee down is fairly strong, ending with the hem at 19 cm across.
The inseam comes in at 86 cm after the factory wash.
The Fabric
This G3 denim is a genuine shuttle loomed affair.
It is 14 oz unsanforised, constructed in right-hand twill, featuring true loom-chatter.
The combination of vertical slubbing on the warp face and strong horizontal textures emerging from the weft face creates a distinct & intense type of variegation that can be easily differentiated from the usual artificial ‘big slub’ denims.
This denim is slightly bumpy and rough to the touch, with a good amount of body.
Of interest, the Sumi weft version of the G3 denim is slightly less rigid compared with the Kakishibu weft version of the same weave.
There is no excess fluffiness or hairiness, and the denim is not neppy, or otherwise exaggerated.
The dense, tight grain is a product of loom-chatter and slow weaving.
The overall colour tone is that of red-cast indigo, which can shift to green-grey depending on how the light catches the Sumi weft.
There is an enhanced darkness to its blue colour due to the grey-coloured weft. The red and purple tinges are not quite as intense compared with the Kakishibu version.
The less intense weft colouration results in more definition on the warp face, highlighting the visual characteristics of the G3 weave with more clarity compared with the darker Kakishibu denim.
The weft face shows a fairly intense grain also, dominated by horizontal slubbing.
Here, we see the selvedge line is ink coloured. There is a brown tone to the ink’s grey.
A mixture of African and Australian cottons make up the yarns, though the details of this are not known to me.
The Details
The DM004 features a wheat-coloured leather patch, embossed with art work of Denimio’s beetle next to ink sticks, in the sumi-e style of illustration.
The Chinese character for ink feature at the top right corner of the patch.
Studio D’Artisan’s current generation arc features on the back-pockets.
The back pockets are half-lined with ink dyed twill cloth.
The pockets are sized well, and will carry work-style wallets without issue.
The same ink twill cloth feature for the front-pockets, which are long enough to be practical.
The coin pocket feature woven tags for Studio D’Artisan and Denimo, and has been created with a true sashiko fabric which is also dyed with ink.
The coin pocket is wide & deep, large enough to facilitate actual use.
The Made in Japan woven tag features on the inside of the waist-band, just behind the leather patch.
The hardware on this pair is the same as the DM003, and I’m a fan.
Recessed metal buttons feature on the five-button fly.
Copper rivets are punch-thru and custom embossed.
The tips of the burrs have been conveniently flattened.
The hidden rivets are customised, and neatly tucked beneath the back pockets.
The sewing on this pair of jeans is similar to the DM003 also – old school, reproduction style.
Lemon and tea coloured threads dominate, although black, blue & white threads also feature internally.
I count at least 6 thread sizes and 3 different types of chain-stitching, imparting a distinct vintage-style aesthetic in the sewing.
Beefy chain-stitching can be found in the top block.
Single needle and lock-stitch sewing are used on seams and edges.
The fly is neatly made, locked on the edges.
The inseam closure is well sewn.
The buttons holes are sewn, then cut – a sturdier construct.
The belt loops are raised in the center, and bar-tacked twice over each attachment.
Potential areas of mechanical stress are neatly reinforced.
The chain-stitch on the hem is even and regular.
Like the DM003, this pair of jeans is very well made.
My Thoughts
After my review of the DM003 Kakishibu jeans, having decided that I am a fan of persimmon dyed denim, I’ve come into the examination of this Sumi collaboration model with expectations in mind.
These Denimio x Studio D’Artisan DM004 Sumi jeans can be seen as a more understated counterpart to the DM003. If the persimmon jeans were wild and fun, these ink jeans would then be a more mature design.
This Sumi version isn’t more of the same compared with the Kakishibu jeans, however. I have noticed that the change in weft dye has made quite a bit of difference, which I shall lay out in dot form:
- The Kakishibu is a darker toned denim
- The Kakishibu is stiffer despite the same weave
- The Sumi allows better appreciation of warp character and textures
- The Sumi has an indigo tone which is more similar to traditional denim
Thus, even if the G3 weave is similar across both models, the different weft dyes showcase this old-school denim in rather different ways. As I mentioned in the previous review, G3 denim is very special – a true old world fabric – and good study into our hobby can be made by comparing this G3 denim with more modern types of Japanese selvedge denim.
Otherwise, the sewing, hardware and detailing on the DM003 and DM004 models are largely similar, the only other differences being the colours of the patch, sashiko pocket and pocket cloth.
I do feel like, for bonus points, the leather patches on both jeans could have been dyed with the respective feature dyes. Other than that, I’m pretty happy with the detailing on these jeans. Every component, from the sashiko fabric to the antiqued metal buttons, adds to the unique vibe of these collaboration jeans and proves to be good quality.
You might find too, the darker sashiko coin pocket on the DM004 to be less loud compared with its counterpart on the DM003. This factor, in addition to the more traditional tone of the overall indigo colour, leads me to consider the Sumi model to be more toned down compared with the Kakishibu jeans.
Of course, with the bright coloured leather patch and the vintage-style contrast thread colours, even these Sumi jeans can hardly be called stealthy. Then again, Studio D’Artisan jeans aren’t meant to be stealthy at all!
The DM004 continues the theme of East meets West. The combination of Eastern dye stuff, detailing & weaving with the quintessential American garment & fabric makes perfect sense for me. This is a true celebration of our Japanese denim hobby.
Apart from this fusion of themes and ideas, playfulness is a core component of Studio D’Artisan’s brand identity too, and I do think that Denimio has achieved a good balance here in their collaboration with Clipper & Indy – fun, but not crazy. (Keep in mind special edition D’Artisan jeans can get very wild!)
Denimio’s exclusive lifter’s style fit on these collaboration jeans fit me very well, much better than Studio D’Artisan’s standard cuts. These once-washed Sumi jeans were pretty comfortable from day one, and settled in very quickly – a pleasure to wear, certainly, with a very nice silhouette.
Denimio has developed this cut to work best on chunkier or more athletic builds; it is better suited to most Western body shapes compared with D’Artisan’s regular cuts, which cater to their domestic customers. If you are a fan of this type of lifter’s fit, keep in mind that this particular cut is exclusive to Denimio.
In contemplating some of my favourite jeans over the years, I must say that I’ve always preferred ‘fusion’ style garments over strict Americana. I like the fact that Japanese folks are doing things well and adding their own spices to the mix, so subtle acknowledgements of Japanese crafts is an aspect of our denim hobby which appeals to me.
Obviously, sometimes the flavor is much too strong – think Samurai Jeans’ special edition stuff – but a good balance has been achieved on this Sumi model. It’s Japanese for sure, but not obnoxiously so. Rather than yelling at you about ninjas and katana blades, the beauty and colours of Japan are showcased gently on these jeans.
I must say too, that the Sumi ink dye works a treat on the weft, and rather than stealing the spotlight for itself, the ink has given the G3 loomed denim a good deal of oomph. It highlights the unique combination of vertical and horizontal variegation on this denim by adding an extra dimension to the tonal shifts in colour, something which the indigo dye cannot achieve by itself.
I can highly recommend this DM004 Sumi model to most raw denim fans, especially people who have an interest in Japanese denim history, coloured wefts or fabric textures. Strict reproduction hobbyists or pure Americana followers need not apply. The DM004 is a very interesting pair of jeans, and I’d wager you will not be bored whilst wearing it!
At $289 USD, the Denimio x Studio D’Artisan DM004 is well priced for a pair of special edition D’Artisan jeans, and is one of my favourite releases from their 40th anniversary range.
Definitely check out the pre-order page at Denimio [linked here] – I hear they are dropping very soon.[:it]The Studio d’Artisan jeans is surely making spur in the community over and over. This time, read our blogger’s beloved review by Indigo Shrimp on SDA x Denimio DM004 Sumi here!
Welcome to the second part of my Denimio x Studio D’Artisan collaboration dissection!
For those who wish to read a little more about shuttle loom history and a story of Japanese denim, you’ll want to check out my recent review of the DM003 Kakishibu jeans, where I cover the history of Toyoda looms, the significance of the G3 denim utilized on these collaboration models, as well as some less commonly known details about the brand of Studio D’Artisan.
Today, however, our focus is on the Denimio x Studio D’Artisan DM004 Sumi jeans, the second & final model of Denimio’s collaboration project with Studio D’Artisan for the jeans maker’s 40th anniversary. Let’s have a look.
The G3 Concept
Whilst I’ve written extensively about the G3 denim in the previous review, I’ll recap it here for your ease of reading, and so, I quote myself:
“Ever since the creation of power looms in the 18th century, fueling the industrial revolution in Europe, loom technology has undergone rapid progression. After millennia of producing fabrics by hand on primitive hand looms, the progression from the first steam powered loom to computer-controlled projectile looms took less than two centuries.
Sakichi Toyoda, founder of the various modern Toyota companies, invented Japan’s first power loom at the end of the 19th century, around the same time that Draper produced their first automatic loom. Realizing that Japan had fallen behind Western powers in terms of textile technology by almost a century, and understanding that modern civilizations are being built on mechanization, Toyoda devoted much of his life to developing and improving Japanese looms.
Toyoda’s first power loom in 1896 was to spawn a series of powered shuttle looms in the next half-century. In 1903, he invented the world’s first shuttle-change automatic loom, named the Type T. The next major step was the Type G, created in 1924, being a non-stop shuttle-change improvement on the Type T, featuring automatic shuttle-change mechanics, improving loom efficiency. The Type G was well known in its time for the quality of woven textiles, despite the ‘high’ speed (by 1920’s standards) with which it could weave fabrics.
Sakichi Toyoda passed away in 1930, leaving behind a very important legacy, and Toyoda Automatic Loom Works – a branch of Toyoda created after the success of the Type G – continued to improve upon the original.
The machine which created the denim fabric showcased here is the Type G3 automatic shuttle loom, a later version of the Type G which was produced for a brief period of time in the 1950’s. G3’s short career came much after the advent of modern rapier & projectile looms in the 1940’s, so that by the time G3 was invented, denim manufacturing had already begun shifting towards modern weaving. During these later years of the 1950’s, the golden age of American denim, shuttle looms were well & truly on their way out.
This is not to mention the fact that the Japanese had not attempted to create denim on their looms until the 1970’s, and, as mentioned in my previous review of Big John jeans, it was only in 1983 that the first shuttle-loomed, artisan quality Japanese denim jeans came into being. It is interesting to think that the G3, much like its ancestors, had been created to produce Japanese work fabrics such as sail cloth, and were not utilized to manufacture denim until recent times
Across the Pacific, in the home of denim, Draper produced its very last shuttle looms, the X-3, in the 1940’s. As American mills closed down one after the other over the 20th century, even Cone Mills’ White Oak plant had to put away their Draper looms into storage.
Toyoda’s G3 loom, over the past 60 years, began slowly fading into history. In the current day, none of the earlier Type G looms are commercially operational, and I am told that only one mill in Japan continues to operate Type G3 looms. Denim woven on the G3 have been popularized in the past few years among denim enthusiasts, with brands such as Warehouse, Trophy Clothing and, of course, Studio D’Artisan, among others, using G3 denim for their jeans.
So, what is so special about denim created on Type G3 looms then?
Consider that many Asian countries continue to build shuttle looms of course, and that if you pay enough dollars you’ll be able to obtain hand-loomed denim (which is a higher tier of product), not to mention modern looms can be programmed to recreate any type of fabric you might want, even reproduction denims…
Well, now that White Oak plant has closed down, and its Draper X-3 looms have stopped their chatter, denim woven on G3 looms are some of the very oldest shuttle loomed fabrics which can be obtained, giving us a clue as to what denim woven in the 1950’s might have been like.
What the G3 offers us is perhaps fictionalized romance – a denim which never was, but could have been, many decades ago.“
The Sumi Concept
Sumi, in the Japanese language, can be translated as either charcoal or ink. Yet, if you see the Chinese character of 墨 on the leather patch, the meaning of ‘ink’ is clear.
The history of ink is a long and complex one, intrinsically tied with how our ancestors chose to express themselves, either through words or painting. Various types of natural inks have been used for doodling since our ancestors lived in caves, and yet it was not until the ancient Egyptians and Chinese, more than 4000 years ago, started collecting soot from fires when artificial ink was invented. Some of the earliest ink remnants, apart from prehistoric cave paintings, came in the form of ancient Chinese hieroglyphs written on oracle bones / turtle shells.
By the time of the Warring States, Chinese scholars were doing their literary scribbling with ink, giving rise to an artistic and literary culture that is still part of the fabric of most Asian societies, including Japan. The gentleman scholar had four friends, it was said: ink stone, ink stick, brush and paper.
Artifacts containing ink, usually in the form of Chinese characters or paintings, were steadily imported into Japan from the second century AD, although the Japanese – who did not have a system for writing at the time – could not decipher the Chinese glyph. It was not until the fifth century AD, with the massive import of Chinese writing and Buddhism into Japan, that the use of ink in its variously related art forms became established in Japan.
1500 years after the introduction of ink and writing, Japan has developed, of course, its own culture in regards to these technologies. The theme of this collaboration – Sumi – generally means black ink. Given the very wide historical & cultural experiences of black ink across the old world, we can say it is not a tradition exclusive to Japan or any one culture, though, doubtless, the art of calligraphy & monochrome ink painting is very much an East Asian tradition, to which Japanese artists and scholars have contributed.
There is no significant tradition of using actual writing ink to dye clothing, certainly not denim in the old West, and thus the use of ink dye on the weft in this G3 denim is a pretty unique modern innovation.
The Cut
Similar to the DM003, the cut of the DM004 Sumi jeans is the exclusive High Rise Relax Tapered fit – a variation of the recently popular high tapered cut.
In the photos here, the jeans are factory once-washed and at day 4 of wear.
I am wearing a sample size 36, with a height of 185 cm and mass of 94 kg.
The rise is medium-high.
The top block is comfortable, with a relatively roomy seat.
Whilst the thighs are generous, the taper from the knee down is fairly strong, ending with the hem at 19 cm across.
The inseam comes in at 86 cm after the factory wash.
The Fabric
This G3 denim is a genuine shuttle loomed affair.
It is 14 oz unsanforised, constructed in right-hand twill, featuring true loom-chatter.
The combination of vertical slubbing on the warp face and strong horizontal textures emerging from the weft face creates a distinct & intense type of variegation that can be easily differentiated from the usual artificial ‘big slub’ denims.
This denim is slightly bumpy and rough to the touch, with a good amount of body.
Of interest, the Sumi weft version of the G3 denim is slightly less rigid compared with the Kakishibu weft version of the same weave.
There is no excess fluffiness or hairiness, and the denim is not neppy, or otherwise exaggerated.
The dense, tight grain is a product of loom-chatter and slow weaving.
The overall colour tone is that of red-cast indigo, which can shift to green-grey depending on how the light catches the Sumi weft.
There is an enhanced darkness to its blue colour due to the grey-coloured weft. The red and purple tinges are not quite as intense compared with the Kakishibu version.
The less intense weft colouration results in more definition on the warp face, highlighting the visual characteristics of the G3 weave with more clarity compared with the darker Kakishibu denim.
The weft face shows a fairly intense grain also, dominated by horizontal slubbing.
Here, we see the selvedge line is ink coloured. There is a brown tone to the ink’s grey.
A mixture of African and Australian cottons make up the yarns, though the details of this are not known to me.
The Details
The DM004 features a wheat-coloured leather patch, embossed with art work of Denimio’s beetle next to ink sticks, in the sumi-e style of illustration.
The Chinese character for ink feature at the top right corner of the patch.
Studio D’Artisan’s current generation arc features on the back-pockets.
The back pockets are half-lined with ink dyed twill cloth.
The pockets are sized well, and will carry work-style wallets without issue.
The same ink twill cloth feature for the front-pockets, which are long enough to be practical.
The coin pocket feature woven tags for Studio D’Artisan and Denimo, and has been created with a true sashiko fabric which is also dyed with ink.
The coin pocket is wide & deep, large enough to facilitate actual use.
The Made in Japan woven tag features on the inside of the waist-band, just behind the leather patch.
The hardware on this pair is the same as the DM003, and I’m a fan.
Recessed metal buttons feature on the five-button fly.
Copper rivets are punch-thru and custom embossed.
The tips of the burrs have been conveniently flattened.
The hidden rivets are customised, and neatly tucked beneath the back pockets.
The sewing on this pair of jeans is similar to the DM003 also – old school, reproduction style.
Lemon and tea coloured threads dominate, although black, blue & white threads also feature internally.
I count at least 6 thread sizes and 3 different types of chain-stitching, imparting a distinct vintage-style aesthetic in the sewing.
Beefy chain-stitching can be found in the top block.
Single needle and lock-stitch sewing are used on seams and edges.
The fly is neatly made, locked on the edges.
The inseam closure is well sewn.
The buttons holes are sewn, then cut – a sturdier construct.
The belt loops are raised in the center, and bar-tacked twice over each attachment.
Potential areas of mechanical stress are neatly reinforced.
The chain-stitch on the hem is even and regular.
Like the DM003, this pair of jeans is very well made.
My Thoughts
After my review of the DM003 Kakishibu jeans, having decided that I am a fan of persimmon dyed denim, I’ve come into the examination of this Sumi collaboration model with expectations in mind.
These Denimio x Studio D’Artisan DM004 Sumi jeans can be seen as a more understated counterpart to the DM003. If the persimmon jeans were wild and fun, these ink jeans would then be a more mature design.
This Sumi version isn’t more of the same compared with the Kakishibu jeans, however. I have noticed that the change in weft dye has made quite a bit of difference, which I shall lay out in dot form:
- The Kakishibu is a darker toned denim
- The Kakishibu is stiffer despite the same weave
- The Sumi allows better appreciation of warp character and textures
- The Sumi has an indigo tone which is more similar to traditional denim
Thus, even if the G3 weave is similar across both models, the different weft dyes showcase this old-school denim in rather different ways. As I mentioned in the previous review, G3 denim is very special – a true old world fabric – and good study into our hobby can be made by comparing this G3 denim with more modern types of Japanese selvedge denim.
Otherwise, the sewing, hardware and detailing on the DM003 and DM004 models are largely similar, the only other differences being the colours of the patch, sashiko pocket and pocket cloth.
I do feel like, for bonus points, the leather patches on both jeans could have been dyed with the respective feature dyes. Other than that, I’m pretty happy with the detailing on these jeans. Every component, from the sashiko fabric to the antiqued metal buttons, adds to the unique vibe of these collaboration jeans and proves to be good quality.
You might find too, the darker sashiko coin pocket on the DM004 to be less loud compared with its counterpart on the DM003. This factor, in addition to the more traditional tone of the overall indigo colour, leads me to consider the Sumi model to be more toned down compared with the Kakishibu jeans.
Of course, with the bright coloured leather patch and the vintage-style contrast thread colours, even these Sumi jeans can hardly be called stealthy. Then again, Studio D’Artisan jeans aren’t meant to be stealthy at all!
The DM004 continues the theme of East meets West. The combination of Eastern dye stuff, detailing & weaving with the quintessential American garment & fabric makes perfect sense for me. This is a true celebration of our Japanese denim hobby.
Apart from this fusion of themes and ideas, playfulness is a core component of Studio D’Artisan’s brand identity too, and I do think that Denimio has achieved a good balance here in their collaboration with Clipper & Indy – fun, but not crazy. (Keep in mind special edition D’Artisan jeans can get very wild!)
Denimio’s exclusive lifter’s style fit on these collaboration jeans fit me very well, much better than Studio D’Artisan’s standard cuts. These once-washed Sumi jeans were pretty comfortable from day one, and settled in very quickly – a pleasure to wear, certainly, with a very nice silhouette.
Denimio has developed this cut to work best on chunkier or more athletic builds; it is better suited to most Western body shapes compared with D’Artisan’s regular cuts, which cater to their domestic customers. If you are a fan of this type of lifter’s fit, keep in mind that this particular cut is exclusive to Denimio.
In contemplating some of my favourite jeans over the years, I must say that I’ve always preferred ‘fusion’ style garments over strict Americana. I like the fact that Japanese folks are doing things well and adding their own spices to the mix, so subtle acknowledgements of Japanese crafts is an aspect of our denim hobby which appeals to me.
Obviously, sometimes the flavor is much too strong – think Samurai Jeans’ special edition stuff – but a good balance has been achieved on this Sumi model. It’s Japanese for sure, but not obnoxiously so. Rather than yelling at you about ninjas and katana blades, the beauty and colours of Japan are showcased gently on these jeans.
I must say too, that the Sumi ink dye works a treat on the weft, and rather than stealing the spotlight for itself, the ink has given the G3 loomed denim a good deal of oomph. It highlights the unique combination of vertical and horizontal variegation on this denim by adding an extra dimension to the tonal shifts in colour, something which the indigo dye cannot achieve by itself.
I can highly recommend this DM004 Sumi model to most raw denim fans, especially people who have an interest in Japanese denim history, coloured wefts or fabric textures. Strict reproduction hobbyists or pure Americana followers need not apply. The DM004 is a very interesting pair of jeans, and I’d wager you will not be bored whilst wearing it!
At $289 USD, the Denimio x Studio D’Artisan DM004 is well priced for a pair of special edition D’Artisan jeans, and is one of my favourite releases from their 40th anniversary range.
Definitely check out the pre-order page at Denimio [linked here] – I hear they are dropping very soon.[:pt]The Studio d’Artisan jeans is surely making spur in the community over and over. This time, read our blogger’s beloved review by Indigo Shrimp on SDA x Denimio DM004 Sumi here!
Welcome to the second part of my Denimio x Studio D’Artisan collaboration dissection!
For those who wish to read a little more about shuttle loom history and a story of Japanese denim, you’ll want to check out my recent review of the DM003 Kakishibu jeans, where I cover the history of Toyoda looms, the significance of the G3 denim utilized on these collaboration models, as well as some less commonly known details about the brand of Studio D’Artisan.
Today, however, our focus is on the Denimio x Studio D’Artisan DM004 Sumi jeans, the second & final model of Denimio’s collaboration project with Studio D’Artisan for the jeans maker’s 40th anniversary. Let’s have a look.
The G3 Concept
Whilst I’ve written extensively about the G3 denim in the previous review, I’ll recap it here for your ease of reading, and so, I quote myself:
“Ever since the creation of power looms in the 18th century, fueling the industrial revolution in Europe, loom technology has undergone rapid progression. After millennia of producing fabrics by hand on primitive hand looms, the progression from the first steam powered loom to computer-controlled projectile looms took less than two centuries.
Sakichi Toyoda, founder of the various modern Toyota companies, invented Japan’s first power loom at the end of the 19th century, around the same time that Draper produced their first automatic loom. Realizing that Japan had fallen behind Western powers in terms of textile technology by almost a century, and understanding that modern civilizations are being built on mechanization, Toyoda devoted much of his life to developing and improving Japanese looms.
Toyoda’s first power loom in 1896 was to spawn a series of powered shuttle looms in the next half-century. In 1903, he invented the world’s first shuttle-change automatic loom, named the Type T. The next major step was the Type G, created in 1924, being a non-stop shuttle-change improvement on the Type T, featuring automatic shuttle-change mechanics, improving loom efficiency. The Type G was well known in its time for the quality of woven textiles, despite the ‘high’ speed (by 1920’s standards) with which it could weave fabrics.
Sakichi Toyoda passed away in 1930, leaving behind a very important legacy, and Toyoda Automatic Loom Works – a branch of Toyoda created after the success of the Type G – continued to improve upon the original.
The machine which created the denim fabric showcased here is the Type G3 automatic shuttle loom, a later version of the Type G which was produced for a brief period of time in the 1950’s. G3’s short career came much after the advent of modern rapier & projectile looms in the 1940’s, so that by the time G3 was invented, denim manufacturing had already begun shifting towards modern weaving. During these later years of the 1950’s, the golden age of American denim, shuttle looms were well & truly on their way out.
This is not to mention the fact that the Japanese had not attempted to create denim on their looms until the 1970’s, and, as mentioned in my previous review of Big John jeans, it was only in 1983 that the first shuttle-loomed, artisan quality Japanese denim jeans came into being. It is interesting to think that the G3, much like its ancestors, had been created to produce Japanese work fabrics such as sail cloth, and were not utilized to manufacture denim until recent times
Across the Pacific, in the home of denim, Draper produced its very last shuttle looms, the X-3, in the 1940’s. As American mills closed down one after the other over the 20th century, even Cone Mills’ White Oak plant had to put away their Draper looms into storage.
Toyoda’s G3 loom, over the past 60 years, began slowly fading into history. In the current day, none of the earlier Type G looms are commercially operational, and I am told that only one mill in Japan continues to operate Type G3 looms. Denim woven on the G3 have been popularized in the past few years among denim enthusiasts, with brands such as Warehouse, Trophy Clothing and, of course, Studio D’Artisan, among others, using G3 denim for their jeans.
So, what is so special about denim created on Type G3 looms then?
Consider that many Asian countries continue to build shuttle looms of course, and that if you pay enough dollars you’ll be able to obtain hand-loomed denim (which is a higher tier of product), not to mention modern looms can be programmed to recreate any type of fabric you might want, even reproduction denims…
Well, now that White Oak plant has closed down, and its Draper X-3 looms have stopped their chatter, denim woven on G3 looms are some of the very oldest shuttle loomed fabrics which can be obtained, giving us a clue as to what denim woven in the 1950’s might have been like.
What the G3 offers us is perhaps fictionalized romance – a denim which never was, but could have been, many decades ago.“
The Sumi Concept
Sumi, in the Japanese language, can be translated as either charcoal or ink. Yet, if you see the Chinese character of 墨 on the leather patch, the meaning of ‘ink’ is clear.
The history of ink is a long and complex one, intrinsically tied with how our ancestors chose to express themselves, either through words or painting. Various types of natural inks have been used for doodling since our ancestors lived in caves, and yet it was not until the ancient Egyptians and Chinese, more than 4000 years ago, started collecting soot from fires when artificial ink was invented. Some of the earliest ink remnants, apart from prehistoric cave paintings, came in the form of ancient Chinese hieroglyphs written on oracle bones / turtle shells.
By the time of the Warring States, Chinese scholars were doing their literary scribbling with ink, giving rise to an artistic and literary culture that is still part of the fabric of most Asian societies, including Japan. The gentleman scholar had four friends, it was said: ink stone, ink stick, brush and paper.
Artifacts containing ink, usually in the form of Chinese characters or paintings, were steadily imported into Japan from the second century AD, although the Japanese – who did not have a system for writing at the time – could not decipher the Chinese glyph. It was not until the fifth century AD, with the massive import of Chinese writing and Buddhism into Japan, that the use of ink in its variously related art forms became established in Japan.
1500 years after the introduction of ink and writing, Japan has developed, of course, its own culture in regards to these technologies. The theme of this collaboration – Sumi – generally means black ink. Given the very wide historical & cultural experiences of black ink across the old world, we can say it is not a tradition exclusive to Japan or any one culture, though, doubtless, the art of calligraphy & monochrome ink painting is very much an East Asian tradition, to which Japanese artists and scholars have contributed.
There is no significant tradition of using actual writing ink to dye clothing, certainly not denim in the old West, and thus the use of ink dye on the weft in this G3 denim is a pretty unique modern innovation.
The Cut
Similar to the DM003, the cut of the DM004 Sumi jeans is the exclusive High Rise Relax Tapered fit – a variation of the recently popular high tapered cut.
In the photos here, the jeans are factory once-washed and at day 4 of wear.
I am wearing a sample size 36, with a height of 185 cm and mass of 94 kg.
The rise is medium-high.
The top block is comfortable, with a relatively roomy seat.
Whilst the thighs are generous, the taper from the knee down is fairly strong, ending with the hem at 19 cm across.
The inseam comes in at 86 cm after the factory wash.
The Fabric
This G3 denim is a genuine shuttle loomed affair.
It is 14 oz unsanforised, constructed in right-hand twill, featuring true loom-chatter.
The combination of vertical slubbing on the warp face and strong horizontal textures emerging from the weft face creates a distinct & intense type of variegation that can be easily differentiated from the usual artificial ‘big slub’ denims.
This denim is slightly bumpy and rough to the touch, with a good amount of body.
Of interest, the Sumi weft version of the G3 denim is slightly less rigid compared with the Kakishibu weft version of the same weave.
There is no excess fluffiness or hairiness, and the denim is not neppy, or otherwise exaggerated.
The dense, tight grain is a product of loom-chatter and slow weaving.
The overall colour tone is that of red-cast indigo, which can shift to green-grey depending on how the light catches the Sumi weft.
There is an enhanced darkness to its blue colour due to the grey-coloured weft. The red and purple tinges are not quite as intense compared with the Kakishibu version.
The less intense weft colouration results in more definition on the warp face, highlighting the visual characteristics of the G3 weave with more clarity compared with the darker Kakishibu denim.
The weft face shows a fairly intense grain also, dominated by horizontal slubbing.
Here, we see the selvedge line is ink coloured. There is a brown tone to the ink’s grey.
A mixture of African and Australian cottons make up the yarns, though the details of this are not known to me.
The Details
The DM004 features a wheat-coloured leather patch, embossed with art work of Denimio’s beetle next to ink sticks, in the sumi-e style of illustration.
The Chinese character for ink feature at the top right corner of the patch.
Studio D’Artisan’s current generation arc features on the back-pockets.
The back pockets are half-lined with ink dyed twill cloth.
The pockets are sized well, and will carry work-style wallets without issue.
The same ink twill cloth feature for the front-pockets, which are long enough to be practical.
The coin pocket feature woven tags for Studio D’Artisan and Denimo, and has been created with a true sashiko fabric which is also dyed with ink.
The coin pocket is wide & deep, large enough to facilitate actual use.
The Made in Japan woven tag features on the inside of the waist-band, just behind the leather patch.
The hardware on this pair is the same as the DM003, and I’m a fan.
Recessed metal buttons feature on the five-button fly.
Copper rivets are punch-thru and custom embossed.
The tips of the burrs have been conveniently flattened.
The hidden rivets are customised, and neatly tucked beneath the back pockets.
The sewing on this pair of jeans is similar to the DM003 also – old school, reproduction style.
Lemon and tea coloured threads dominate, although black, blue & white threads also feature internally.
I count at least 6 thread sizes and 3 different types of chain-stitching, imparting a distinct vintage-style aesthetic in the sewing.
Beefy chain-stitching can be found in the top block.
Single needle and lock-stitch sewing are used on seams and edges.
The fly is neatly made, locked on the edges.
The inseam closure is well sewn.
The buttons holes are sewn, then cut – a sturdier construct.
The belt loops are raised in the center, and bar-tacked twice over each attachment.
Potential areas of mechanical stress are neatly reinforced.
The chain-stitch on the hem is even and regular.
Like the DM003, this pair of jeans is very well made.
My Thoughts
After my review of the DM003 Kakishibu jeans, having decided that I am a fan of persimmon dyed denim, I’ve come into the examination of this Sumi collaboration model with expectations in mind.
These Denimio x Studio D’Artisan DM004 Sumi jeans can be seen as a more understated counterpart to the DM003. If the persimmon jeans were wild and fun, these ink jeans would then be a more mature design.
This Sumi version isn’t more of the same compared with the Kakishibu jeans, however. I have noticed that the change in weft dye has made quite a bit of difference, which I shall lay out in dot form:
- The Kakishibu is a darker toned denim
- The Kakishibu is stiffer despite the same weave
- The Sumi allows better appreciation of warp character and textures
- The Sumi has an indigo tone which is more similar to traditional denim
Thus, even if the G3 weave is similar across both models, the different weft dyes showcase this old-school denim in rather different ways. As I mentioned in the previous review, G3 denim is very special – a true old world fabric – and good study into our hobby can be made by comparing this G3 denim with more modern types of Japanese selvedge denim.
Otherwise, the sewing, hardware and detailing on the DM003 and DM004 models are largely similar, the only other differences being the colours of the patch, sashiko pocket and pocket cloth.
I do feel like, for bonus points, the leather patches on both jeans could have been dyed with the respective feature dyes. Other than that, I’m pretty happy with the detailing on these jeans. Every component, from the sashiko fabric to the antiqued metal buttons, adds to the unique vibe of these collaboration jeans and proves to be good quality.
You might find too, the darker sashiko coin pocket on the DM004 to be less loud compared with its counterpart on the DM003. This factor, in addition to the more traditional tone of the overall indigo colour, leads me to consider the Sumi model to be more toned down compared with the Kakishibu jeans.
Of course, with the bright coloured leather patch and the vintage-style contrast thread colours, even these Sumi jeans can hardly be called stealthy. Then again, Studio D’Artisan jeans aren’t meant to be stealthy at all!
The DM004 continues the theme of East meets West. The combination of Eastern dye stuff, detailing & weaving with the quintessential American garment & fabric makes perfect sense for me. This is a true celebration of our Japanese denim hobby.
Apart from this fusion of themes and ideas, playfulness is a core component of Studio D’Artisan’s brand identity too, and I do think that Denimio has achieved a good balance here in their collaboration with Clipper & Indy – fun, but not crazy. (Keep in mind special edition D’Artisan jeans can get very wild!)
Denimio’s exclusive lifter’s style fit on these collaboration jeans fit me very well, much better than Studio D’Artisan’s standard cuts. These once-washed Sumi jeans were pretty comfortable from day one, and settled in very quickly – a pleasure to wear, certainly, with a very nice silhouette.
Denimio has developed this cut to work best on chunkier or more athletic builds; it is better suited to most Western body shapes compared with D’Artisan’s regular cuts, which cater to their domestic customers. If you are a fan of this type of lifter’s fit, keep in mind that this particular cut is exclusive to Denimio.
In contemplating some of my favourite jeans over the years, I must say that I’ve always preferred ‘fusion’ style garments over strict Americana. I like the fact that Japanese folks are doing things well and adding their own spices to the mix, so subtle acknowledgements of Japanese crafts is an aspect of our denim hobby which appeals to me.
Obviously, sometimes the flavor is much too strong – think Samurai Jeans’ special edition stuff – but a good balance has been achieved on this Sumi model. It’s Japanese for sure, but not obnoxiously so. Rather than yelling at you about ninjas and katana blades, the beauty and colours of Japan are showcased gently on these jeans.
I must say too, that the Sumi ink dye works a treat on the weft, and rather than stealing the spotlight for itself, the ink has given the G3 loomed denim a good deal of oomph. It highlights the unique combination of vertical and horizontal variegation on this denim by adding an extra dimension to the tonal shifts in colour, something which the indigo dye cannot achieve by itself.
I can highly recommend this DM004 Sumi model to most raw denim fans, especially people who have an interest in Japanese denim history, coloured wefts or fabric textures. Strict reproduction hobbyists or pure Americana followers need not apply. The DM004 is a very interesting pair of jeans, and I’d wager you will not be bored whilst wearing it!
At $289 USD, the Denimio x Studio D’Artisan DM004 is well priced for a pair of special edition D’Artisan jeans, and is one of my favourite releases from their 40th anniversary range.
Definitely check out the pre-order page at Denimio [linked here] – I hear they are dropping very soon.[:ru]Джинсы Studio d’Artisan, несомненно, снова и снова вызывают интерес у сообщества. На этот раз читайте любимый обзор блоггера Indigo Shrimp на SDA x Denimio DM004 Sumi !
Добро пожаловать во вторую часть моего обзора о коллаборации Denimio x Studio D’Artisan!
Для тех, кто хотел бы узнать немного больше об истории ткацких станков челночного типа и японского денима, вы можете ознакомиться с моей предыдущей частью обзора джинсов DM003 Kakishibu, где я рассказываю об истории станков Toyoda G3, потому что именно на этом оборудовании делался деним для этой коллаборации. Также вы можете узнать некоторые малоизвестные детали о бренде Studio D’Artisan.
Сегодня я сосредоточусь на джинсах Denimio x Studio D’Artisan DM004 Sumi второй и финальной модели коллаборации Denimio и Studio D’Artisan, посвящённой 40-летию данной марки. Давайте посмотрим.
Концепция денима G3
Whilst Несмотря на то, что я уже приводил информацию о дениме G3 в предыдущем обзоре, для удобства чтения я дам это информацию вновь. Я буду цитировать сам себя:
“С момента создания автоматических ткацких станков в XVIII веке, породившем промышленную революцию в Европе, технологии ткацкой промышленности непрерывно развивались. Таким образом после тысячелетий, когда ткани производились вручную на весьма примитивном оборудований до современного производства тканей на компьютеризированных ткацких станках прошло всего пара столетий.
Sakichi Toyoda, основатель современной компании Toyota, изобрёл в конце XIX века первый японский ткацкий станок, примерно в то же время, когда американская компания Draper выпустила свой первый автоматический ткацкий станок. Понимая, что Япония отстала от передовых западных держав в области текстильных технологий почти на столетие, а также понимая, что развитие промышленности невозможно без развития техники, Sakichi Toyoda посвятил остаток жизни совершенствованию и разработке станков и оборудования в Японии.
Первый ткацкий станок с электроприводом был изобретён Toyoda в 1896 году. В 1903 году был изобретён первый в мире автоматический ткацкий станок со сменным челноком, который был назван Type T. Следующим важным этапом было создание станков Type G, что произошло в 1924 году. Это был автоматический безостановочный модернизированный ткацкий челночный станок с изменённой механикой и повышенной эффективностью. Станок Type G получил известность благодаря высокому качеству ткани и достаточно высокой производительности для своего времени.
Sakichi Toyoda скончался в 1930 году, оставив после себя богатое наследие, а предприятие Toyoda Automatic Loom Works стало важным подразделением компании Toyoda. Созданные ранее ткацкие станки Type G продолжали развиваться дальше.
Представленный здесь Type G3 автоматический ткацкий станок, является модернизированной версией машин Type G, которые производились в течение сравнительно короткого периода в 50-х годах. Короткая карьера G3 была уже после изобретения в 40-х годах оборудования близкого к ткацким станкам современного типа. Поэтому с момента изобретения, ткацкое производство денима уже медленно, но необратимо начало смещаться в сторону современной ткани. 50-е годы были золотым веком американского денима, производимого на челночных станках, поэтому производство в то время всё ещё находилось на правильном пути.
Однако, нельзя не упомянуть тот факт, что японское ткацкое производство начало производить деним только начиная с 70-х годов, о чём я упоминал в моём обзоре о джинсах Big John jeans. Что же касается именно традиционного денима, производимого на челночных ткацких станках, то такой материал был создан японскими энтузиастами-ремесленниками только в 1983 году. Именно с этого времени появились те самые японские “ремесленнические” джинсы в современном понимании. Также стоит чётко понимать, что вплоть до недавнего времени знаменитый японский станок G3, как и его предшественники не использовались ранее для производства денима. На них производили ткань для рабочей одежды.
Через океан в Соединённых Штатах в 40-х годах были произведены последние станки марки Draper X-3. Американские ткацкие производства закрывались одни за другим в течение ХХ века. Даже знаменитая фабрика Cone Mills White Oak была вынуждена сдать эти станки на хранение.
За последние 60 лет станки Toyoda G3 начали уходить в историю. В настоящее время ни один из более ранних станков Toyoda из серии G не используется в коммерческой эксплуатации и только одна фабрика в Японии имеет всего несколько станков G3, которые всё ещё на ходу.
Итак, какие же особенности имеет деним, сделанный на станках Type G3?
Учтите, что многие азиатские страны создают новые челночные станки. Если вы готовы заплатить достаточно денег вы можете получить деним с достаточно интересной, даже похожей на сотканную в ручную фактурой. В то же время на современных станках с компьютерным управлением можно получить визуально вполне аутентичный деним, в том числе похожий на старинное репро.
Таким образом после того, как американское предприятие White Oak было закрыто, а станки Draper X-3 перестали работать, можно с уверенностью сказать, что машины G3 являются на сегодняшний день самыми старыми челночными станками. Что даёт нам представление о том, какой деним можно было бы получить в 50-х годах.
Так что можно было бы сказать, что история с денимом, сотканным на G3 является в какой-то мере фантазией на тему того, как деним мог бы выглядеть много десятилетий назад.
Концепция выпуска Sumi
“Sumi” на японском языке можно было бы перевести, как “древесный уголь” или “чернила”. Когда мы видим китайский иероглиф 墨 на кожаном патче джинсов, значение этого слова всё-таки следует понимать, как “чернила”.
История чернил – это длинная и сложная история, которая неразрывно связана с тем, как наши предки решили выражать себя посредством слов или живописи. Различные типы натуральных чернил использовались для рисования, так как наши предки жили в пещерах, и всё это продолжалось до тех пор, пока древние египтяне и китайцы, более 4000 лет назад, не начали собирать сажу от пожаров, тогда были изобретены искусственные чернила. Некоторые из самых ранних остатков чернил, кроме доисторических наскальных рисунков, пришли в виде древних китайских иероглифов, написанных на костях или панцирях черепах.
В период Сражающихся Царств (V век до н.э.) , в Китае уже писались художественные произведения, создавалась общая азиатская письменная культура, частью которой является и японская культура. В то время говорилось, что у учёного мужа было четыре друга: чернильный камень, чернильная палочка, кисть и бумага.
Артефакты, содержащие чернила в виде китайских иероглифов и картин регулярно импортировались в Японию со II века нашей эры, при том что у японцев того времени ещё не было собственной системы письма. Только в V веке нашей эры, по мере проникновения в Японию буддизма и китайской письменности, стали появляться и чернила.
1500 лет спустя, в Японии была разработана своя собственная система и культура письма. Таким образом знак “Суми”, который является основой данной коллаборации, обозначает именно чернила. Учитывая очень широкий опыт использования таких чернил в азиатском мире, нельзя сказать, что это достояние только лишь японской культуры, однако японские мастера каллиграфии и монохромной живописи внесли в это направление неоценимый и очень весомый вклад.
Не существовало заметной традиции окрашивания чернилами одежды, следовательно окрашивание уточной нити, денима сотканного на станке G3 является весьма уникальной инновацией.
Фасон
Подобно DM003, крой джинсов DM004 Sumi представляет собой посадку High Rise Relax Tapered – вариацию современного и популярного кроя с высокой посадкой на поясе, широкой верхней частью бедра и зауженной штаниной.
На фото показаны джинсы, прошедшие фабричную усадку (one wash), которые были ношены 4 раза.
Я ношу размер 36, мой рост 185 см и вес 94.
Посадка джинсов на поясе средне-высокая.
Верхний блок достаточно комфортабелен с удобной расслабленной посадкой.
В то время как бёдра этих джинсов весьма свободны, штанина имеет ярко выраженный конус. В моём размере низ штанины (hem) составляет 19 см в поперечном измерении.
Длина по внутреннему шву (inseam) составляет 86 см после фабричной усадки.
Деним
Это настоящий G3 деним, соткан на тех самых старинных челночных станках.
Плотностью этого несанфоризированного денима составляет 14 oz unsanforised, с правосторонним плетением (RHT) и естественной неоднородностью фактуры.
Комбинация заметной вертикальной фактуры нити основы и выраженной горизонтальной фактуры уточной нити получено без специальных настроек оборудования и создаёт действительно неповторимую и естественную слабби фактуру, которая отличается от ‘big slub’ денима, многих известных брендов, где такая фактура получается “механическим” способом (изменение натяжения нитей, специальный подбор их толщины и т.д.).
Этот деним визуально denim визуально очень неровный и грубый. Выглядит действительно очень внушительно.
Замечу, что уточная нить джинсов Sumi заметно менее жёсткая чем у денима Kakishibu, сотканного также на станке G3.
Здесь нет какой либо “ворсистости” денима, также отсутствуют nep элементы. Все эти особенности, иногда встречающиеся у разных видов денима здесь не преувеличиваются умышленно.
Заметная “зернистость” здесь является следствием особенности работы ткацкого станка G3 и его медленной скоростью.
Общий цветовой фон здесь напоминает оттенок red-cast индиго (цвет индиго, отдающий в слегка фиолетовый). Однако в зависимости от освещения он может иметь иногда слегка сероватый или зеленоватый оттенок. Эту игру цвета создаёт уточная нить, окрашенная в серый.
В то же время синий цвет здесь прослеживается более явно из-за серого цвета уточной нити. Красноватый оттенок здесь не столь характерен, как для версии Kakishibu.
Менее интенсивная окраска утка приводит к большей четкости на поверхности основы, подчеркивая визуальные характеристики плетения G3 по сравнению с более тёмным денимом Kakishibu.
Уточная сторона также показывает довольно интенсивную зернистость, в которой преобладают горизонтальная фактура.
Здесь мы видим селвидж окрашенный в цвет чернил. Нить имеет серый цвет.
Наскольк мне известно, здесь используется микс американских и автралийских сортов хлопка.
Детали
Кожаный патч модели DM004 имеет цвет пшеницы. На нём присутствует изображение жука Denimio и чернильные палочки. Изображение выполнено в стиле иллюстрации sumi-e.
Иероглиф обозначающий слово “чернила” находится в верхнем правом углу патча.
Studio D’Artisan’s в настоящее время использует свои современные арки на задних карманах.
Нижняя часть кармана усилена подкладкой из прочной хлопковой саржи.
Карманы имеют достаточно большие размеры и без проблем могут вместить практически любые кошельки.
Мешковина также окрашена в цвет Sumi. Следует сказать, что размеры передних карманов достаточно большие и глубокие. Это очень удобно для современного человека.
Небольшой монетный кармашек содержит символику Studio D’Artisan и Denimo, он выполнен из настоящего материала сашико и также окрашен в сероватый цвет старинных чернил.
Он достаточно широкий и глубокий, видно, что эта деталь вполне функциональна.
Лейбл Made in Japan пришит с внутренней стороны пояса напротив кожаного патча.
Фурнитура этой пары является точно таким же, как и модели DM003, и я фанат этих деталей.
Джинсы застёгиваются на пять металлических пуговиц.
Медные заклёпки сквозные и выполнены с кастомизированным тиснением.
Сердцевина заклёпок сделана сплющенной.
Скрытые заклёпки изготовлены по индивидуальному заказу и аккуратно заправлены под верхние углы задних карманов.
Пошив этой пары похож на модель DM003 – олдскул и репро.
Преобладают нити лимонного и чайного цвета, хотя также есть голубые, черные и белые нити.
Я насчитал по крайней мере 6 различных видов нитей и 3 разных видов строчки. Что придаёт особую винтажную эстетику.
Крупные “мясистые” строчки можно найти в верхнем блоке.
Одноигольные швы расположены по внешнему краю джинсов для усиления конструкции. Также одноигольная техника сочетается с цепным стежком в различных деталях.
Болты аккуратно сделаны и швы обработаны оверлоком по краям
Внутренний шов аккуратно обработан оверлоком.
Петли для пуговиц сначала обшиваются, а потом прорезаются.
Шлевки для ремня сделаны выпуклыми и прочно пришиты лимонной нитью.
Потенциальные области механического напряжения аккуратно усилены. По центральному шву ровная и прочная строчка.
Край штанины обработан цепным стежком.
Как и выпуск DM003,эта пара очень хорошо сделана.
Мои впечатления
После того, как я сделал обзор модели DM003 Kakishibu я был в полном восторге и я стал настоящим поклонником этого выпуска. Поэтому я приступил к обзору модели Sumi полным ожиданий.
Эти Denimio x Studio D’Artisan DM004 Sumi можно счесть более сдержанной и лаконичной моделью, в отличие от очень яркой и экспрессивной модели DM003. Если уток, окрашенный какисибу сразу же привлекает внимание, то сероватый цвет sumi требует некоторого времени, чтобы как следует изучить эти джинсы. Но поверьте, этот выпуск не менее интересен.
Версия Sumi не похожа на джинсы Kakishibu. Я заметил, что изменение в цвете утка имело довольно большое значение, которое я изложу в виде пунктов:
- The Kakishibu является более тёмным видом денима
- The Kakishibu является более жёстким видом денима, несмотря на аналогичное переплетение
- Sumi позволяет лучше изучить и рассмотреть характер самой фактуры денима
- Sumi имеет цвет, который более похож на традиционный классический деним
Таким образом, даже если переплетение G3 одинаково для обеих моделей, разные способы окрашивания уточной нити демонстрируют этот необычный деним по-разному. Как я уже упоминал в предыдущем обзоре, материал G3 особенный – настоящее ощущение старого винтажного денима, словно вернувшегося к нам из прошлого. Мы можем хорошо изучить наше хобби, сравнив этот деним G3 с более современными типами японского материала.
В остальном конструкция, фурнитура и детализация на моделях DM003 и DM004 во многом схожи, единственными другими отличиями являются цвета патча, кармана сашико и мешковины карманов.
Я думаю, что для ещё большего эффекта, патчи этих джинсов могли бы быть окрашены соответствующими красителями. В любом случае я очень доволен детализацией этого выпуска. Каждый компонент, от ткани сашико до винтажных металлических пуговиц добавляет неповторимую атмосферу этим коллаборационным джинсам и доказывает, что они великолепного качества.
Вы можете найти монетный карман из тёмного материала sashiko на джинсах DM004 более сдержанным и менее марким, нежели аналогичная деталь в цвете kakishibu у модели DM003. Этот фактор, выраженный в деталях, заставляет меня считать версию Sumi несколько более лаконичной и изящной, нежели более яркую версию Kakishibu.
Конечно, достаточно выразительный патч и детализация джинсов Sumi вряд ли оставит сделает их совсем незаметными. Так или иначе любые джинсы Studio D’Artisan будут весьма примечательной вещью на улице.
Джинсы DM004 продолжают встречу Востока и Запада. Здесь очень самобытно сочетаются сугубо японские виды красителей и некоторых материалов, так и классические элементы старинных американских джинсов. Добавьте к этому очень современный фасон и вы получаете крайне привлекательную и очень насыщенную деталями модель. Это настоящий праздник для нашего хобби японского денима.
Помимо этого органичное сочетание идей и деталей, порой ироничное обыгрывание некоторых элементов является фирменным стилем этого бренда. На мой взгляд Studio D’Artisan и Denimio в этой коллаборации смогли получить отличный баланс. Джинсы выглядят заметно, но не излишне ярко и вполне традиционно, что на мой взгляд является их плюсом. Имейте в виду, что порой Studio D’Artisan делает совершенно яркие и безумные вещи, когда речь касается коллабов!)
Созданный для этой коллаборации фасон в виде relax tapered, подходит мне исключительно хорошо. Я получил эти джинсы в фабричном one wash исполнении, сразу же надел их и не испытывал ни малейших неудобств, мне даже не пришлось их разнашивать. При этом данный выпуск коллаба Studio D’Artisan и Denimio выглядит замечательно внешне.
Denimio разработали этот фасон специально для людей плотного или спортивного телосложения, также такой фасон хорошо подходит для людей Запада, нежели классические модели Studio D’Artisan, которые больше предназначены для внутреннего рынка. Если вы являетесь сторонником этого фасона, то имейте в виду, что он является экслкюзивом для Denimio.
Рассматривая многие из тех джинсов, что мне нравятся, я замечу, что, пожалуй, всегда предпочту вещи в стиле “фьюжн” строгой классической Американе. Мне нравится как японские мастера сочетают стиль старых американских джинсов, добавляя туда собственные “специи”. Поэтому признание изящества японских ремёсел является очень важным аспектом джинсового хобби для меня. Иногда, когда “вкус” такого “бдюда” становится чрезвычайно силён и необычен, я представляют деним от Samurai Jeans (особенно некоторые специальные выпуски). В этой модели джинсов Sumi достигнут очень хороший баланс. Это плоть от плоти японский продукт, выражающий многие аспекты японской культуры, причём делает это очень изящно и тонко.
Я также скажу, что краситель Sumi не приковывает всё внимание на себя, но делает фактуру и цвет денима, сотканного на G3 очень красивым и выразительным. Этот цвет подчёркивает вертикальную и горизонтальную неоднородность фактуры, также очень красиво играет с цветом индиго нитей основы. Определённо, один цвет индиго не смотрелся бы здесь столь выигрышно, как в комбинации с Sumi.
Я могу рекомендовать модель DM004 Sumi всем любителям японского денима, особенно людям, которые глубоко интересуются японской историей, связанной с цветом и окрашиванием. Но и строгим любителям классического репро и Американы здесь есть на что посмотреть. Я держу пари, что эти джинсы ещё не раз смогут приятно удивить вас, и вам определённо будет не скучно носить их!
Модель Denimio x Studio D’Artisan DM004 стоит около $289, что является вполне приемлемой ценой за специальный коллаборационный выпуск, посвящённый 40-летию бренда.
Обязательно зайтиде на страницу товара в Denimio [ссылка здесь] Это ограниченный выпуск и вы больше не увидите таких джинсов, как только они закончатся.[:th]กางเกงยีนส์ Studio d’Artisan สร้างกระแสความฮิตกับคนรักยีนส์อย่างแน่นอน ในครั้งนี้ผมอยากให้คุณได้อ่านรีวิวของบรรดานักเขียนบล็อกของเราโดยจะกล่าวถึง Indigo Shrimp จาก SDA x Denimio DM004 Sumi ที่นี่!
ขอต้อนรับผู้อ่านทั้งหลายเข้าสู่ภาคสองของสินค้า Denimio x Studio D’Artisan collaboration! สำหรับผู้ที่ต้องการอ่านเพิ่มเติมเกี่ยวกับประวัติเครื่องทอและเรื่องราวของผ้ายีนส์ญี่ปุ่น คุณควรลองยีนส์รุ่นใหม่จาก Studio d’Artisan
รีวิวกางเกงยีนส์ DM003 คากิชิบุครั้งนี้ผมขอกล่าวถึงเรื่องราวเครื่องทอผ้า Toyoda ซึ่งเกี่ยวกับความสำคัญของยีนส์ G3 ในโมเดล collaboration เหล่านี้ รวมถึงรายละเอียดโดยภาพรวมบางอย่างเกี่ยวกับแบรนด์ Studio D’Artisan
ในวันนี้ผมจะเน้นไปที่กางเกงยีนส์ Denimio x Studio D’Artisan DM004 Sumi ซึ่งเป็นรุ่นที่สองและเป็นรุ่นสุดท้ายของโปรเจค collaboration ระหว่าง Denimio กับ Studio D’Artisan สำหรับการครบรอบ 40 ปีของผู้ผลิตกางเกงยีนส์
แนวคิดยีนส์ G3
ผมได้เขียนรีวิวเกี่ยวกับกางเกงยีนส์ G3 ไว้ในรีวิวก่อนหน้านี้ ผมจะขอสรุปในบล็อกที่นี่อีกสักหน่อยเพื่อให้คุณสะดวกในการอ่าน
“นับตั้งแต่มีการสร้างเครื่องทอผ้าในศตวรรษที่ 18 การเติมพลังให้กับการปฏิวัติอุตสาหกรรมในยุโรปนั้น เทคโนโลยีเครื่องทอผ้ามีความก้าวหน้าพัฒนาอย่างรวดเร็ว หลังจากการผลิตผ้าด้วยมือบนเครื่องทอผ้ามือนับพันปีก่อน จนพัฒนามาเป็นเครื่องทอผ้าพลังแรงดันไอน้ำเครื่องแรกไปสู่เครื่องทอผ้าที่ควบคุมด้วยคอมพิวเตอร์โดยใช้เวลาไม่ถึงสองศตวรรษ
Sakichi Toyoda ผู้ก่อตั้งบริษัทโตโยต้าที่ทันสมัยได้คิดค้นเครื่องทอผ้าพาวเวอร์ลูมเครื่องแรกของญี่ปุ่นเมื่อปลายศตวรรษที่ 19 ในเวลาเดียวกับที่มีเครื่อง Draper เป็นเครื่องทอผ้าอัตโนมัติเครื่องแรก ด้วยความที่ว่าญี่ปุ่นตกอยู่ในอำนาจของตะวันตกในแง่ของเทคโนโลยีสิ่งทอมาเกือบศตวรรษและเข้าใจว่าอารยธรรมสมัยใหม่กำลังถูกสร้างขึ้นบนเครื่องจักรกล Toyoda จึงอุทิศชีวิตของเขาเพื่อพัฒนาและปรับปรุงเครื่องทอผ้าญี่ปุ่นตั้งแต่นั้นมา
เครื่องทอผ้าพาวเวอร์ลูมเครื่องแรกของ Toyoda เกิดขึ้นในปี 1896 คือ เครื่องที่ต้องวางกระสวย พัฒนาเป็นหนึ่งในซีรีส์ของเครื่องทอพาวเวอร์ชัทเทิลลูมในช่วงครึ่งศตวรรษต่อมา จนในปี 1903 เขาคิดค้นเครื่องทอผ้าอัตโนมัติแบบเปลี่ยนกระสวยเครื่องแรกของโลกชื่อว่า Type T การพัฒนาขั้นสำคัญถัดไป คือ Type G สร้างขึ้นในปี 1924 ซึ่งปรับปรุงการสับกระสวยแบบไม่หยุดนิ่งเป็น Type T มีฟีเจอร์ กลไกเปลี่ยนกระสวยอัตโนมัติและปรับปรุงประสิทธิภาพกี่ทอผ้า ต่อมาเป็น Type G ในเวลานั้นเป็นที่รู้จักกันดีเรื่องผ้าทอคุณภาพ แม้จะใช้ความเร็วสูงในการทอ (ตามมาตรฐานของปี 1920)
ต่อมา Sakichi Toyoda ได้ถึงแก่กรรมในปี 1930 เขาทิ้งมรดกที่สำคัญไว้เบื้องหลังมากมาย รวมทั้งเครื่องทอผ้า Toyoda Automatic Loom Works ซึ่งเป็นส่วนหนึ่งในผลงานของ Toyoda ที่สร้างขึ้นหลังจากความสำเร็จของ Type G เขาก็ยังคงพัฒนาอย่างต่อเนื่อง
เครื่องจักรที่สร้างผ้าเดนิมที่แสดงอยู่นี้คือ เครื่องทอผ้าอัตโนมัติ Type G เป็นรุ่นที่ใหม่กว่าของ Type G ผลิตในช่วงเวลาสั้น ๆ ช่วงปี 1950 ส่วนเครื่อง G3 เกิดขึ้นหลังจากการกำเนิดกระสุนปืน มาหลังเครื่องทอผ้าโปรเจคไทล์ปี 1940 เสียอีก ดังนั้นช่วงเวลาที่ G3 ถูกคิดค้นขึ้นนั้น การผลิตผ้ายีนส์ได้เริ่มเปลี่ยนไปสู่การทอผ้าที่ทันสมัยแล้ว ต่อมาหลังจากปี 1950 เป็นยุคทองของผ้าเดนิมอเมริกัน กระสวยทอผ้าก็อพัฒนาเข้าที่แล้ว
ในที่นี้ไม่ได้แปลว่า ชาวญี่ปุ่นไม่พยายามสร้างผ้าเดนิมจากเครื่องทอผ้าจนถึงปี 970 ซึ่งตามที่ได้กล่าวถึงในรีวิวครั้งก่อนของผมเกี่ยวกับกางเกงยีนส์ Big John ช่วงปี 1983 มีการใช้เครื่องทอกระสวยเครื่องแรก กางเกงยีนส์ญี่ปุ่นคุณภาพถูกผลิตจากช่างฝีมือโดยตรง สิ่งที่น่าสนใจคือ เครื่องทอ G3 เป็นเหมือนบรรพบุรุษที่ถูกสร้างขึ้นเพื่อผลิตผ้าทอแบบญี่ปุ่น อย่างเช่น ผ้าใบของเรือใบที่ไม่ได้ใช้ในการผลิตผ้าเดนิมมาก่อน จนกระทั่งเพิ่งใช้ทอผ้าเดนิมเมื่อไม่นานมานี้
ทีนี้เราผมจะพาคุณข้ามมหาสมุทรแปซิฟิกไปยังถิ่นของผ้าเดนิมที่เครื่อง Draper เครื่องทอผ้าแบบกระสวยรุ่นสุดท้ายได้ใช้ผลิตผ้าในปี 1940 คือ X-3
เป็นช่วงที่โรงงานอเมริกันปิดตัวลงหนึ่งแห่งในศตวรรษที่ 20 แม้แต่โรงงาน White Oak ของ Cone Mills ก็ต้องย้ายเครื่องทอผ้า Draper ออกจากที่เก็บของ
เครื่องทอผ้า G3 ของ Toyoda ในช่วง 60 ปีก่อน เริ่มเลือนหายไปจากประวัติศาสตร์อย่างช้า ๆ ปัจจุบันนี้ไม่มีเครื่องทอผ้า Type G รุ่นก่อนที่ใช้งานในเชิงพาณิชย์ ผมทราบมาว่ามีโรงงานเพียงแห่งเดียวในญี่ปุ่นที่ยังคงใช้งานเครื่องทอผ้าแบบ G3 ผ้าเดนิมที่ทอจากเครื่อง G3 ได้รับความนิยมในช่วงไม่กี่ปีที่ผ่านมาในคนรักยีนส์ โดยมีแบรนด์ เช่น Warehouse, Trophy Clothing, Studio D’Artisan และแบรนด์อื่น ๆ ที่ยังใช้เครื่อง G3 ในการผลิตผ้าเดนิมอยู่บ้าง
แล้วความพิเศษของผ้าเดนิมที่ผลิตด้วยเครื่องทอ Type G3 คืออะไรล่ะ?
หากพิจารณาดูจะพบว่า หลายประเทศในเอเชียยังคงสร้างเครื่องทอแบบกระสวยอยู่ และถ้าคุณจ่ายเงินมากขึ้น คุณจะได้ผ้าเดนิมทอมือ (ซึ่งเป็นเกรดสูงกว่าเดนิมทั่วไป) ซึ่งผมไม่ขอกล่าวรวมถึงเครื่องทอผ้ารุ่นใหม่ที่ตั้งโปรแกรมผลิตผ้าได้ทุกประเภทตามต้องการอยู่แล้ว…
ตอนนี้โรงงาน White Oak ได้ปิดตัวลงแล้วและเครื่องทอผ้า Draper X- looms ก็ไม่ได้ใช้งานอีก ผ้าเดนิมที่ทอจากเครื่อง G3 นั้นเป็นผ้าทอกระสวยที่เก่าแก่ที่สุดซึ่งอาจจะพบเห็นได้บ้าง แต่ก็เป็นผ้าเดนิมที่ทอตั้งแต่ปี 1950
เครื่องทอผ้า G3 ให้ความรู้สึกถึงความเก่าแบบโรแมนติกผ่านเดนิมได้หลายสิบปี“
แนวคิดเกี่ยวกับยีนส์ซูมิ (Sumi)
คำว่า ซูมิ ในภาษาญี่ปุ่นอาจหมายถึง ชาโคลหรือน้ำหมึกก็ได้ หากลองพิจารณาอักษรจีน 墨 บนป้ายแพทช์หนังให้ดีแล้ว ก็คงสื่อความหมายไปทาง “น้ำหมึก” มากกว่า
ประวัติความเป็นมาของน้ำหมึกเป็นสิ่งที่ยาวนานและซับซ้อนเชื่อมโยงกับบรรพบุรุษของเราว่าจะเลือกถ่ายทอดออกมาอย่างไร ผ่านคำพูดหรือผ่านการวาดภาพ หมึกธรรมชาติชนิดต่าง ๆ ถูกนำมาใช้ในการวาดลวดลายตั้งแต่ยุคที่บรรพบุรุษของเราอาศัยอยู่ในถ้ำและจนกระทั่งชาวอียิปต์และชาวจีนโบราณเมื่อ 4,000 กว่าปีที่แล้วเริ่มเก็บเขม่าจากไฟ และได้มีการประดิษฐ์หมึกขึ้นมาใช้ เศษหมึกที่เก่าแก่ที่สุดบางส่วนนอกเหนือจากภาพเขียนถ้ำยุคก่อนประวัติศาสตร์แล้ว ก็มีให้เห็นในรูปแบบของอักษรอียิปต์โบราณที่เขียนบนกระดูก oracle และกระดองเต่า
เมื่อถึงเวลาทำศึกสงครามกัน นักปราชญ์ชาวจีนก็ได้เขียนวรรณคดีด้วยหมึก ทำให้เกิดวัฒนธรรม ศิลปะและวรรณกรรมที่ยังคงเป็นส่วนหนึ่งของสังคมเอเชียส่วนใหญ่รวมถึงญี่ปุ่นด้วย นักปราชญ์มีเพื่อนแท้อยู่สี่คน ได้แก่ หินหมึก แท่งหมึก พู่กันและกระดาษ 🙂
สิ่งประดิษฐ์ที่มีหมึกมักจะอยู่ในรูปของตัวอักษรจีนหรือภาพวาด ซึ่งถูกนำเข้ามาอย่างต่อเนื่องในญี่ปุ่นนับจากศตวรรษที่สอง แม้ว่าญี่ปุ่นขณะนั้นยังไม่มีระบบการเขียนมาตรฐาน ก็ไม่สามารถถอดรหัสหรือสัญลักษณ์ภาษาจีนได้ จนกระทั่งศตวรรษที่สิบห้า ด้วยอิทธิพลการเขียนภาษาจีนและพุทธศาสนาในประเทศญี่ปุ่น ได้ใช้หมึกในเชิงศิลปะหลากหลายด้าน จนน้ำหมึกแพร่หลายในประเทศญี่ปุ่น
1500 ปีหลังจากที่หมึกเป็นที่แพร่หลายแล้ว ประกอบกับการเขียนญี่ปุ่นได้พัฒนาจนเป็นมาตรฐานชัดเจน ด้วยตัววัฒนธรรมเองต้องเกี่ยวกับเทคโนโลยีเหล่านี้ ธีม collaboration ส่วนใหญ่ของ Sumi จึงหมายถึง “หมึกสีดำ” ด้วยประสบการณ์ทางประวัติศาสตร์และวัฒนธรรมการใช้หมึกดำทั่วโลกมานาน การใช้หมึกจึงไม่ได้เป็นประเพณีเฉพาะของญี่ปุ่นหรือเป็นของวัฒนธรรมใดวัฒนธรรมหนึ่ง แต่ศิลปะแห่งการประดิษฐ์ตัวอักษรและภาพวาดหมึกขาวดำพบได้มากในแถบเอเชียตะวันออกซึ่งศิลปินและผู้รังสรรค์ผลงานการใช้น้ำหมึกเป็นชาวญี่ปุ่น
ไม่มีจารีตหลักเรื่องของการใช้หมึกเขียนเพื่อการย้อมเสื้อผ้า แน่นอนไม่มีการใช้หมึกย้อมผ้าเดนิมในประเทศแถบตะวันตกยุคเก่ามาก่อน ดังนั้นการใช้สีย้อมหมึกกับเส้นทอเดนิมในเครื่อง G3 นี้ถือเป็นนวัตกรรมที่ทันสมัยไม่ซ้ำใคร
คัตติ้งการตัดเย็บ
รุ่นนีมีมความคล้ายกับรุ่น DM003 คัตติ้งของยีนส์ซูมิ DM004 เอ็กซ์คลูซีฟสุด ๆ ด้วยทรงเป้าสูง ทรงขาเรียว ใช้ tapered สูงที่ดูทันสมัย
ในภาพนี้เป็นกางเกงยีนส์แช่ครั้งเดียวจากโรงงานและผมใส่เป็นวันที่ 4
จากตัวอย่าง ผมลองใส่ไซส์ 36 ผมสูง 185 ซม. และหนัก 94 กก.
ทรงเป้าสูงปานกลาง
ยีนส์ช่วงบนตัดเย็บให้ใส่แล้วรู้สึกสบาย ความกว้างของผ้าช่วงก้นพอดีทำให้ลุกนั่งคล่องตัว
ช่วงต้นขากว้าง ช่วงขากางเกงตั้งแต่เข่าลงไปจะแคบเรียวลงจนถึงชายกางเกงยีนส์ยาว 19 ซม.
แนวตะเข็บขาด้านในยาว 86 ซม. หลังผ่านการแช่จากโรงงาน
เนื้อผ้า
ผ้าเดนิม G3 ตัวนี้ผลิตจากเครื่องทอแบบกระสวย เครื่องของแท้เลย
ขนาดผ้า 14 ออนซ์ ผ้าอาจหดตัวอีก (unsanforised) ผ้าลายเฉียงขวา
การผสมผสานผิวหยาบ slubbing ในแนวตั้ง (ด้ายพุ่ง) และเท็กซ์เจอร์แนวนอน (ด้ายยืน) ที่แข็งแกร่งที่เกิดขึ้น ตัดกันอย่างมาก ซึ่งแตกต่างจากยีนส์แบบ ‘big slub’ อย่างชัดเจน
ผ้าเดนิมนี้มีลักษณะขรุขระเล็กน้อยและหยาบ แต่สวมใส่ดี ทรงสวย
สิ่งที่น่าสนใจของผ้ายีนส์ซูมิ Sumi รุ่น G3 คือ จะมีความแข็งน้อยกว่าเล็กน้อยเมื่อเทียบกับผ้าทอรุ่นคากิชิบุ Kakishibu ที่ใช้วิธีการทอแบบเดียวกัน
ยีนส์รุ่นนี้ไม่มีขนโผล่มามากเกินไปและผ้าเดนิมก็ไม่เป็นเม็ด nep จนเกินพอดี
ความหนาแน่นของเนื้อผ้า เสมือนเมล็ดพืชแน่น ๆ ที่เป็นผลผลิตของเครื่องทอผ้าที่ถักทออย่างช้า ๆ
โทนสีโดยรวมคือ สีครามแดงซึ่งสามารถเปลี่ยนเป็นสีเขียวอมเทาขึ้นอยู่กับว่าแสงจะส่องมาจับเนื้อผ้า Sumi มากน้อยเพียงใด
หากแสงน้อยลง ยีนส์จะเป็นสีฟ้าเนื่องจากด้ายยืนแนวนอนเป็นสีเทา การแต่งแต้มสีแดงและสีม่วงนั้นไม่ได้เข้มข้นมากมายเมื่อเทียบกับรุ่น Kakishibu
การย้อมสีด้ายยืนแนวนอนที่มีความเข้มน้อยกว่าส่งผลให้สีของด้ายพุ่งแนวตั้งเด่นมากขึ้น เน้นให้เห็นถึงลักษณะภาพของการทอแบบ G3 ได้ความคมชัดมากขึ้นเมื่อเทียบกับผ้าเดนิมคากิชิบูสีเข้ม
สีของด้ายยืนทำให้ลักษณะเม็ดบนเดนิมค่อนข้างมาก และปกคลุมด้วยผิว slubbing แนวนอน
จากภาพนี้เราเห็นเส้น selvedge มีโทนสีน้ำตาลแทรกสีเทาของหมึก
ผ้าเดนิมประกอบด้วยฝ้ายแอฟริกันและฝ้ายออสเตรเลียทำขึ้นเป็นเส้นด้าย
ดีเทล
ฟีเจอร์ของ DM004 มีป้ายแพทช์หนังสีข้าวสาลีนูนออกมาด้วยสัญลักษณ์ตัวด้วงเดนิมิโอที่ติดกับแท่งหมึกในสไตล์ของ sumi-e
ตัวอักษรจีนพิมพ์ด้วยหมึกที่มุมบนขวาของป้ายแพทช์หนัง
ฟีเจอร์ลายเส้น arc บนกระเป๋าหลังรุ่นล่าสุดของ Studio D’Artisan’s
กระเป๋าด้านหลังมีซับในครึ่งผืนด้วยผ้าทอลายทแยงย้อมสีด้วยหมึก
กระเป๋ามีขนาดพอดี ใส่กระเป๋าสตางค์ได้โดยไม่มีปัญหา
ฟีเจอร์ผ้าทอลายทแยงหมึกเหมือนกับกระเป๋าด้านหน้าซึ่งยาวพอที่จะใช้งานได้จริง
ตัวแท็กกระเป๋าใส่เหรียญมีการทอแท็ก Studio D’Artisan และ Denimio ทำจากผ้าซาชิโกะย้อมด้วยหมึก
กระเป๋าเหรียญกว้างและลึกมากพอที่จะใช้งานได้จริง
แท็กด้านในบริเวณเอว (ด้านหลังแพทช์หนัง) ทอในประเทศญี่ปุ่น
รายละเอียดของยีนส์รุ่นนี้เหมือนกับ DM003 ผมเป็นแฟนพันธุ์แท้ของรุ่นนี้พอดี
ใช้กระดุมโลหะแบบลอย 5 เม็ด
หมุดทองแดงเป็นแบบเจาะทะลุตรึงอีกด้านหนึ่ง
หมุดทองแดงซ่อนไว้แบบเรียบ ๆ บริเวณนี้
หมุดที่ซ่อนอยู่ถูกปรับแต่งและซ่อนใต้กระเป๋าหลังอย่างเรียบร้อยสวยงาม
การเย็บยีนส์รุ่นนี้คล้ายกับยีนส์รุ่น DM003 เช่นกัน ซึ่งทำให้ได้ลุคแนวเก่า ๆ หน่อย
ด้ายสีมะนาวและชาเด่นออกมาจากสีผ้าเดนิมที่มีสีดำ สีฟ้าและสีขาวแทรกในเนื้อเดนิมเป็นพื้นหลัง
ผมนับด้ายที่ยีนส์รุ่นนี้ใช้มีอย่างน้อย 6 ขนาดและเย็บแบบลายโซ่เพื่อให้ได้ความสวยงามตามสไตล์วินเทจ
รอยเย็บบริเวณบล็อกบนของตัวยีนส์
การเย็บแบบใช้ฝีเข็มเดียว เย็บเป็นตะเข็บล็อคช่วงตะเข็บขาด้านในกับชายกางเกงยีนส์
เย็บล็อคที่ขอบอีกชั้นอย่างประณีต
เย็บซ่อนขอบผ้าช่วงขาด้านในเรียบร้อบเช่นกัน
รังดุมของยีนส์เย็บแล้วตัดตรงกลาง เพื่อให้ได้โครงสร้างที่แข็งแรง
สายห่วงเข็มขัดถูกยกขึ้นมากึ่งกลางและยึดติดกับบาร์สองครั้ง
บริเวณนี้ต้องเย็บประณีตแน่นหนาขึ้นหน่อยเพื่อทนการดึงรั้ง
การเย็บแบบห่วงโซ่ตะเข็บบนชายกางเกงยีนส์ด้วยฝีเย็บสม่ำเสมอ
ยีนส์รุ่นนี้ตัดเย็บประณีตเรียบร้อย เก็บรายละเอียดงานได้เทียบเท่ากับรุ่น DM003 จริง ๆ ครับ
ความเห็นส่วนตัว
หลังจากที่ผมได้รีวิวกางเกงยีนส์รุ่น DM003 Kakishibu ผมกลายมาเป็นแฟนตัวยงของยีนส์สีลูกพลับ และกำลังลองยีนส์รุ่น Sumi นี้อยู่ ก่อนใส่ผมก็คาดหวังไว้สูงเหมือนกัน
ยีนส์รุ่น DM004 Sumi ของ Denimio x Studio D’Artisan ก็เป็นโมเดลที่ทำให้คุณเห็นภาพดีเทลของยีนส์รุ่น DM003 ไปด้วย หากกางเกงยีนส์ลูกพลับนั้นดูเท่และมีลูกเล่นในดีเทลแล้ว ยีนส์รุ่นที่ใช้หมึกนี้ก็เป็นการออกแบบที่ดูมีความเป็นผู้ใหญ่มากขึ้นนั่นเอง
ยีนส์รุ่น Sumi นี้ไม่เหมือนเดิมมากนักเมื่อเทียบกับกางเกงยีนส์รุ่น Kakishibu ผมสังเกตเห็นเรื่องสีย้อมผ้าที่มีความต่างกันบ้างเล็กน้อย ผมจะจำแนกประเด็นความต่างของแต่ละจุด ดังนี้
- ยีนส์รุ่น Kakishibu เป็นผ้าเดนิมสีเข้มมากกว่า
- ยีนส์รุ่น Kakishibu มีความแข็งแรงแม้จะผ่านการทอแบบเดียวกัน
- ยีนส์รุ่น Sumi ช่วยให้เห็นลายเส้นทอแนวนอนและเท็กซ์เจอร์ได้ชัดกว่า
- ยีนส์ Sumi มีโทนสีครามคล้ายกับผ้าเดนิมแบบดั้งเดิมมากกว่า
ดังนั้นแม้ว่าทั้งสองรุ่นจะผ่านการทอแบบ G3 เหมือนกัน แต่ด้วยการใช้สีย้อมผ้าที่แตกต่างกันก็ดึงเอกลักษณ์ของยีนส์แนวเก่า ๆ ออกมาได้ไม่เท่ากัน ดังที่ผมได้กล่าวไปแล้วในการรีวิวก่อนหน้านี้ว่าผ้ายีนส์ G3 นั้นพิเศษมาก เป็นผ้าแนวยุคเก่าของแท้เลย คุณลองเปรียบเทียบยีนส์ G3 นี้กับยีนส์ญี่ปุ่นอื่น ๆ ดูได้
การตัดเย็บฮาร์ดแวร์และรายละเอียดของรุ่น DM003 และ DM004 จะคล้ายกันมาก ความแตกต่างเพียงจุดเดียวคือ สีของแพทช์บนกระเป๋าซาชิโกะและกระเป๋าผ้า
ผมรู้สึกว่าแพทช์หนังกางเกงยีนส์ทั้งสองรุ่นถูกย้อมด้วยสีย้อมตามลำดับขั้นตอนเฉพาะ แต่พอใส่แล้วผมมีความสุขมากกับตัวดีเทลต่าง ๆ รวมทุกองค์ประกอบจากผ้าซาชิโกะไปจนถึงกระดุมโลหะโบราณ มันช่วยเพิ่มความรู้สึกที่เป็นเอกลักษณ์ของกางเกงยีนส์และพิสูจน์ให้เห็นถึงคุณภาพที่ดีจริง
คุณจะเห็นอีกว่ากระเป๋าใส่เหรียญผ้าซาชิโกะของยีนส์รุ่น DM004 เหมือนจะมีสีเข้มกว่า จริง ๆ แล้ว อาจเข้มน้อยกว่าด้วยซ้ำเมื่อนำมาวางเทียบใกล้กับรุ่น DM003 นอกจากปัจจัยโดยรวมเรื่องโทนสีครามที่มากกว่าเดิมแล้ว อีกอย่างหนึ่งคือ ยีนส์รุ่น Sumi กระชับมากกว่ายีนส์รุ่น Kakishibu ด้วย
ส่วนดีเทลแพทช์หนังยังคงสีสดใสและสีด้ายมีความคมชัดสไตล์วินเทจ แม้แต่กางเกงยีนส์ รุ่น Sumi ก็อาจเทียบไม่ติด นี่แหละคือสิ่งที่แบรนด์ Studio D’Artisan ชอบผลิตยีนส์ที่เป็นรุ่นที่หาตัวจับได้ยาก!
ยีนส์รุ่น DM004 ยังคงธีมแนวตะวันออกกับตะวันตกไว้ได้ลงตัว การผสมผสานระหว่างสีย้อมแบบตะวันออกกับรายละเอียดและการทอแนวอเมริกันเป็นจุดที่ทำให้ผมรู้สึกใส่ยีนส์นี้แล้วมันเติมเต็มสไตล์ได้ค่อนข้างสมบูรณ์เลย
นอกเหนือจากการผสมผสานของธีมและความคิดสร้างสรรค์แล้ว ยีนส์รุ่นนี้ยังแทรกดีเทลความสนุกสนานลงไปเป็นองค์ประกอบหลักของเอกลักษณ์แบรนด์ Studio D’Artisan ด้วย ผมคิดว่า Denimio บาลานซ์การรวมแบรนด์ collaboration ได้เหมาะสมดี ดีไซน์ไม่สุดโต่ง(ผมเห็นยีนส์รุ่นพิเศษ D’Artisan มันดูดิบ ๆ เถื่อน ๆ ไง!)
สไตล์เดนิมที่เอ็กซ์คลูซีฟของเดนิมิโอในคอลเลคชั่นนี้ทำทรงยีนส์ได้เหมาะกับผมมาก คือ ความผมรู้สึกส่วนตัวผมว่าตัดดีกว่ายีนส์เฉพาะรุ่นของ Studio D’Artisan ผมใส่ยีนส์ Sumi วันแรกก็ใส่สบายดีนะครับ ไม่อึดอัด เอาเป็นว่าเรื่องสัมผัสคุณอาจไม่อินกับผม แต่ที่แน่ ๆ ทรงขากางเกงสวยมากจริง ๆ ครับ
เดนิมิโอได้พัฒนาแพทเทิร์นการตัดเย็บนี้เพื่อให้ใส่แล้วดูดีและคงทนด้วย ทรงเหมาะกับรูปร่างชาวตะวันตกส่วนใหญ่ถ้าเทียบกับการตัดแบบปกติของ D’Artisan นี่คือสิ่งที่เดนิมิโอใส่ใจลูกค้าในกลุ่มประเทศดังกล่าวเช่นกัน หากคุณรักทรงกางเกงยีนส์กระชับเข้ารูปแบบนี้ คุณหาซื้อยีนส์ได้จากโปรเจ็คการตัดเย็บเฉพาะของเดนิมิโอเท่านั้น
ถ้าจะกล่าวถึงกางเกงยีนส์ตัวโปรดของผมในช่วงหลายปีที่ผ่านมา ผมขอบอกว่า ผมชอบเสื้อผ้าสไตล์ฟิวชั่นมากกว่าแนว Americana ผมชอบงานของคนญี่ปุ่น เขาทุ่มเทใส่ใจดีเทล ถูกใจผมครับ
อาจจะมีบางครั้งที่ดีไซน์หรือสีสันดูแรงเกินไป (ยีนส์รุ่นพิเศษของซามูไรยีนส์) แต่สำหรับยีนส์รุ่นซูมินี้ออกแบบได้สมดุลดีแล้วครับ ทำให้ผมใส่แล้วมั่นใจมากขึ้นเหมือนกางเกงยีนส์มันเล่าเรื่องราวความเป็นญี่ปุ่นออกมาด้วย เปลี่ยนลุคผมให้กลายเป็นหนุ่มแดนซามูไรทันที
ผมต้องขอกระซิบเพิ่มว่า สีย้อมหมึกของยีนส์รุ่นซูมิบนเนื้อผ้ามันสวยมากครับ ใส่แล้วเหมือนมีสปอตไลท์ให้ตัวเอง ตัวหมึกกับการทอเดนิมแบบ G3 มันผสมผสานมาเป็นเอกลักษณ์บนเนื้อผ้าที่ทำให้ผมอึ้งว่า ผ้ามันมีมิติขึ้นได้ ซึ่งเดนิมทั่วไปที่ย้อมด้วยสีครามทำไม่ได้แบบนี้แน่นอนครับ
ท้ายที่สุดนี้ผมขอฝากยีนส์รุ่น DM004 Sumi ให้แฟน ๆ ที่รักเดนิมยีนส์ดิบไปลองจัดมาใส่สักตัวครับ จะได้คุยกับผมรู้เรื่อง 🙂 โดยเฉพาะคนที่สนใจประวัติศาสตร์ยีนส์ของญี่ปุ่น หรือสนใจเรื่องเท็กซ์เจอร์และลายทอเดนิม ไปจนถึงนักเล่นยีนส์มือสมัครเล่น ควรลองยีนส์รุ่น DM004 ผมกล้าเดิมพันได้ว่าคุณจะใส่ได้แบบไม่เบื่อเลยครับ!
สนนราคาอยู่ที่ประมาณ 8,600 บาท (289 ดอลล่าร์) Denimio x Studio D’Artisan DM004 ดีลราคาดี ๆ สำหรับกางเกงยีนส์สเปเชียลเอดิชั่นของ D’Artisan เป็นหนึ่งในรุ่นครบรอบ 40 ปี และเป็นรุ่นที่ผมชอบมาก ๆ ด้วย
ท่านใดที่สนใจยีนส์รุ่นนี้ เข้ามาสั่งพรีออเดอร์กันได้ที่เว็บไซต์ของ Denimio [linked here] ผมรอคุณใส่ยีนส์เป็นเพื่อนผมอยู่นะครับ[:]
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