Blue—Blu—Blau–Bleu : Blue Decoration

In centuries past when hand spinning, hand dyeing and hand painting onto textiles was all part of the clothing process traditional decoration also played a big part.  It was a way in which the local creative culture was expressed.  Traditional motifs were repeated time and again as "stories" on various parts of the garment.  Such motifs all had their different meanings and significance with the provenance of the garment being identifiable by its hand drawn motifs.   India, China, Africa, Indonesia, Thailand, Japan, Vietnam, Central America  all had motifs specifically recognisable to their country and region.

©Legrand.C. (2103) Indigo: the Colour that Changed the World.

Tie dye was and still is traditionally mostly Indonesian, Japanese and Chinese. Although as a hand craft it is taught today in some Western Schools. However the originals created by skilled artists are superior in both technique and complexity. Such craft artists are able to achieve the most intricate patterns layer upon layer.  These skills were handed down the generations such that the resultant fabrics can now command immense prices.

Hand drawing onto fabric using indigo paste was likewise done by tribal artists of great skill.  Motifs were naif and charming. Some were merely decorative and some had greater cultural significance.

©Balfour-Paul.J. (2011) Indigo: Egyptian Mummies to Blue Jeans

Batik is an Indo Chinese art and craft still practised today and immensely popular but very little is achieved in pure indigo as indigo washes down and out too quickly and is costly to produce.

The craft of batik is created using hot wax for the drawing after which the cloth is dyed. The dye is resisted by the wax which, when the cloth is washed the wax dissolves leaving the pattern as the base colour.  This of course can be repeated using different shades of overdye such that a multi level pattern is achieved.  Today it is multicoloured using non natural dyes. The Indigo examples from previous centuries have a simple intricate beauty the motifs of which tell a multitude of stories.  They of course are collectors pieces.

©Legrand.C. (2103) Indigo: the Colour that Changed the World.

Block printing with indigo, and of course other natural dyes, being another simple craft which when combined with Batik achieves a rich combination of patterns where it is the shade that unites - in this case the rich blue of indigo.   It is interesting to see the traditional motifs used in both building decoration as well as to adorn the body in textiles.

There is something very special about hand crafted decorated textiles in mono colour, particularly blue.  Blue being a dominant shade for decoration dominant in every country in the near and far east because of the tradition of indigo dyeing.  Juxtapositions of Block print and batik patterns are timeless.

TREND ALERT - Blue—Blu—Blau–Bleu : Craft Blues

Original natural indigos arrive in numerous casts from rich deep reddish to deep greenish depending on where in the world the indigo originates.  India is the original country of origin but natural dye extraction is practised in many other countries in the near and far east today.

©Balfour-Paul.J. (2011) Indigo: Egyptian Mummies to Blue Jeans

Extracting the indigo as a dye from the natural plant requires much skill and lots of labour and patience.  Originally and even now the dye works the best on cotton fibre. Although it is quixotic and does not easily adhere to the host fibre bleaching down quickly with both wear and exposure to daylight.

Dyeing the cotton yarn, which was hand spun from the raw cotton balls, was all done by hand therefore the consistency and shade varied enormously. This led to pronounced streaks in the eventual fabric, a characteristic which has become synonymous with an old denim fabric. An effect which we try to emulate today to "pretend" that what we are designing is as close to the old original as possible.

©Legrand.C. (2103) Indigo: the Colour that Changed the World.

 Originally, and even today as a hand craft, indigo plants are soaked in water, weighted down and left to ferment over night. After which the scum is removed and the liquid beaten hard until bubbles form and thickening takes place. It is then passed through a sieve to remove the liquid, leaving behind the indigo paste which is used for dyeing after it has dried into chunks. The indigo rocks or chunks achieved from recovered dye paste above are ready to be re-used. In this case you will see how much reddish cast this particular indigo is. 

Such indigo chunks as well as being used for dyeing, were used as paint or drawing materials, or used to paint onto fabric as hand decoration.

images left-right: ©Legrand.C. (2103) Indigo: the Colour that Changed the World. ©Balfour-Paul.J. (2011) Indigo: Egyptian Mummies to Blue Jeans

The original craft of indigo dyeing was a manual and messy business.  Filthy water, dye sludge, and scum residue are all bi-products of the hand dye process.

The water residue from natural indigo hand dyeing takes on a greenish cast whereas the dye itself seems to cast reddish.  Such is the nature of natural plant derived indigo. Modern chemical indigos are more controllable but nevertheless the locality where it is used has an effect on the cast due to the PH in the water supply.

The craft of hand dyeing seems romantic but in the case of indigo the ultimate contamination was and still is a major pollutant to the environment. In the past indigo artisans didn't care about cleaning the old water before throwing it onto the fields whereas now it is global law to clean up the water to at least the same level of cleanliness as when it was extracted from river or stream.   In fact many modern industrial mills have an enclosed recycling system for their dirty water, cleaning it and then re-using to dye again. When the water has been used too much it is then cleaned to a higher level of purity before being discharged into the river or stream from whence it came.

UPSCALE - Containing Volume

It would be very easy to sum up the denims in this segment as being dominated by Tencel and Lyocel cellulosic fibres from Lenzing.    Yes, lightweight fluidity is essential for such big baggy denim garments which benefit from gathering, cinching, pleating and general volume controlling techniques.   Both Tencel and Lyocel denim blends achieve the requisite fullness and drapey denims better than any other but they must share the stage with mid and light weight 2x1 fineweave twills and 1x1 plain weaves all sporting the old oe x oe vintage looks, which wash down amazingly displaying the hi/low shade effects at the twin needle seams.  All of which lend an authentic appearance to what is in fact a fashion garment.

L: Martin Grant R: Photography and styling by Damian Foxe

Is it a fashion garment or is it jeanswear?   As long as it's indigo "Yes".    Again in blends of Tencel or Lyocel depending on whether softness or slippy drape is required work best for such voluminous shapes.  Creatively cinch at the waist and turn up the volume at the ankle or just let it all hang and flow.   Feel feminine in these oversizes indigos.  One cannot really call them all "denim" but as indigo they loosely fall into the category of romantic denims.

L-R: Steven Tai, Reberto Verino, Miu Miu

Volume does not mean big and ugly.  Lightweights in fluid denims can be contained with big belts, pleats and buttoned tabs emphasising the body and shaping where intended.

L: Photography and styling by Damian Foxe R: Fyodor Golan

Such baggy shapes are the antithesis of the currently ever popular skinny jean.   The current imaginative volume hugs the body in mid and lighter weight denims, warmer for winter when back brushed,  looking on-trend teamed with voluminous coats and wrapped up in the essential scarves.

UPSCALE - Big Shapes

Don't wash it - wear it raw rigid.    Advice for the new wave of giant shapes both in simple suitings, clean wide cuffed jeans and cinched big tops.    Indigo is obviously the foundation to this growing trend but natural dye colours with dark wefts are just as relevant.    

L: Martin Grant R: Wanda Nylon 

Clever cutting and experimental shaping has been made easier with raw rigid or raw comfort stretch denims.  The combination of starched denim ( in the right weight of course) with creative cutting and shaping sees the emergence of some amazing new garment ideas.

L: Beaufille Middle: Munthe

And of course when mid or lightweight raw denims have an element of lycra they are even more malleable and exciting to work with.   Some shapes may look a little crazy but creative drama in indigo jeanswear turns heads and fashion hearts.     Let's think about moving on from the normal bell bottoms to creating a cross cut "skirt" at the leg bottom along with a similar treatment to the sleeves.  Variations of the trucker jacket into coat options have not yet been explored to the full - there is still a long way to go with clever interpretations of this iconic denim jacket.

Giant shapes and creative forms must be emphasised with top and multi contrast stitching.  Twin needle seaming is normal for jeans but as with creative shape and giant forms this is being taken out of context and used for its own effect.   Flamboyance and drama are the effects that are striven for with this new wave of super dark raw look denim.

UPSCALE - Giant Weaves

Hand crafted massive 3D indigo bamboo "plaid".    Reimagined as a giant print or indeed as an indigo textile weave.   Don't you just covet it however it is translated?

Just as we thought the twill couldn't get any bigger - we now see the really giant twill.  The fabric weight is around 32ozs in cotton and yet because of the loose and open construction the jean is surprisingly comfortable.   Giant twills are more commonplace in wools for outerwear but here again their use in jeanswear has become more widely available.   Not as comfortable as cotton  for such coarse wool is scratchy against the legs.  Best kept to coats and jackets we feel.

R: Via Design

Sculptural shapes from VIA Design formed from 3D corded cottons have a life of their own as the body moves within.  Mixing cross and straight cutting creates a moving sculpture loosely called a garment.  Dramatic and exciting it has the "must have" quality associated with great design and even more so in indigo.

Really clever cutting and fabric manipulation creates art in the form of garments.  Cutting and patching stitched fabric bits of big cords creating tension and dynamism from a  sculptural top to a pleated and gathered bottom.    All one can say is it's "indigo WOW".

TREND ALERT - UPSCALE

By contrast to the market saturation of denims which all look the same we are seeing indigo denims which explode out of their constructions.  Size really does matter.  It is all about big scale, dramatic 3D weaves and haphazard denims that grab a finish when subjected to the rigours of the laundry.   Above we have a construction where the technique of "differential shrinkage" of the weft yarns have puckered the surface to create a haphazard ruched seerucker effect........ not intended for jeans but dramatic for tops.

Huge prominent twills that look like corduroy which pop out of the base construction allow us to see the weft valleys between the twill mountains and which react dramatically to the laundry treatments.  Inevitably such big twills come in heavier weight denims most suited to bigger shaped jeans and jackets.   Quilting is not a fabric we automatically associate with indigo denim but its use as indigo kimonos in japan is historically well known and lives perfectly alongside the big twill.    Both giant quilts and mini quilts, which emulate a 3D dobby construction, look fantastic in indigo allowing designers to be super creative with tops that accompany jeans.  The resurgence of the kimono jacket has helped this trend for giant constructions to flourish.

L: OFF WHITE

Giant patterns both printed onto and stitched into the garment lend themselves to wide cuts and boxy shapes.   Far from distorting a frame, however petite, the drama of both pattern scale and garment shape appears boldly new and eye catching.

L: Martin Grant

Massive shapes and big scale details shift from rave pants to flamboyant couture cuts.   Waists and midriffs become important to emphasise as a contrast to the oversize.  Some years ago the big cuff was first introduced by MiH jeans and has subsequently flooded even the mass market being logical when combined with wide bottom raw rigid jeans.    Such giant shapes and clever cutting calls for greater use of raw rigid or raw stretch denim.  Unwashed starched denim helps the sculptural form retain shape longer and of course wear naturally into your own bodily shape.   In fact for such enormous shapes in indigo denim there is almost never a need to wash the big jean!

The Denim Body - Flatter and Wide

Flattering denim cuts as well as serious indigo tailoring offers consumers more jeans opportunities to play with.  Wider shapes, nipped in waists, panelling, top stitching are but some of the denim detailing we now see as part of the fashion jeans scene.  Making the simple skinny almost redundant in the wardrobes of the fashion forward.

Wide shapes and fluid drape from super high waists down to floor skimming lengths are a complete antithesis of the minimal skinny.  The high fashion versions are almost charicature but will influence our eyes to want a wider easier silhouette.

The bigger silhouette is broken up with panelling and top stitching onto raw rigid denims.  Weights are lighter to achieve raw comfort with the addition of Tencel cellulosic fibre for a glamorous lustre.

The Denim Body - Body [ faintly ] Aware

Draped denims that skim the body,  fluid not fitted will emphasise the beauty of your shape - enticing and less obvious. Retaining the lycra content for comfort and ease in fluid denims with tencel or lightweight 2 plied cotton, such denims are having a surge in popularity for the leg lengthening onesie and the high waisted wide long flare. Minimal laundry technique is required to enhance such silhouettes.

R: Collezeioni

The androgynous easy slim which falls over the shoe and the slightly baggier deep cuffed boyfriend styles  look appealing after having spent so long with tight indigo legs.  The denim has still a little stretch to fit at the body and help with movement in high waist styles.

R: V Project

Slim and cropped in positive rich indigos or black denims shift the more simple styled jeans into the suiting arena. High waists, side pockets high low washes at seams and edges lend attitude to a simple silhouette.

The two leading women's brands are playing with alternatives to the super skinny.  

MiH with their iconic cult jean project jeans focuses on superb fit at the rear, slightly higher waists for a smooth silhouette and flattering straight or flared legs into raw cut edges.

J Brand is playing with cigarette and straight slim silhouettes with likewise higher waists giving a flatteringly longer line for both women's and men's jeans.