Ryder on the Storm: Suiting Decoded

An Egyptian stele submerged in the ocean depths for one thousand years was recently raised with hieroglyphs in pristine condition. Dating to 600 BC, a stele authored by Persian King Darius I, was newly unearthed by the Black Sea partially intact. His message was one of intention to crush victorious in an archaic revolt. Ancient practices have marked human existence since time dawned and The Slow Fashion Movement is like-minded in support of artisans and workers whose trade is as old as mortal breath itself.

Suiting in its commonly known and constructed form has been in place for four hundred years. Original designs leaned toward the complex and flamboyant. Approaches have drifted in and out of levels of formalism, landing contemporarily in a manner that reflects the fitted designs adopted in Pre-World War II with notes of the Edwardian era. Slight shifts in trouser length and volume have waxed while accessories are always on a pendulum of dated and current. Coats remain a fit-cut and the prize in any collection of wares.

The freeing moment in modern endeavors of suiting is that it can be worn in a plethora of ways from high tops to top-polish oxfords. Materials continue to be immensely valued for a second skin feel and fit still reigns on high so many court appearances later. A well-made suit is meticulously constructed from individual pattern pieces in an established convention that has been handed down from the prideful hands of master tailors. A stele pressed under land or sea with messages dispelled from the ancients recalls the time-honored standards of construction that are perfectly set in stone.


Editorial Credits -  
Art Direction/Styling Meg Huffman
Photography Mauela Insixiengmay

Words Brit Parks
Graphic Artist Joseph McSween
Model Gregory DeAnda

Chair by Design Within Reach


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