rodeo bill

Sorry to see this. Julian's right that it's fixable- a good local tailor should be able to put a patch behind the rip and then sew over it from the outside. I have a soft spot for Whooper, and I've really enjoyed my pairs. I've not got much stock left, though, and I have all that there is. Please just let me know if you have any questions.

did anyone else spot Mr Yamane having a whisky on the top floor?!

Thanks! Yup I thought you'd like to see the fabric in person :-)

^this looks fantastic on you! thanks for the photo!

Thanks very much for your insight! I'm not sure if I was quite clear- the fabric is cut face-out, not inside-out, it's just cut across the piece so that the indigo weft becomes the vertical on the garment (as it would be if it was a warp cut lengthways). The ecru warp was pushed back in the weave to let more blue show on the front (which is why the inside of the jeans show a bit more white than with normal denim), but it's still an indigo face/ecru back cloth. Sorry if I'm being pedantic! I love this:

While I'm at it, here are some photos of my own pair of Cross Weave 136s, worn from Unborn over the past two and a half years:

Great outfit @AlientoyWorkmachine, and thank you or noticing the photo shoots! I don't do much photography myself these days, but I've always loved it as a medium, and I have a really good relationship with the photographer who's shot the past 7 years or so's worth of seasons. We always try to do something interesting with the equipment and film, as well as locations and compositions. It's one of my favourite parts of the process :-) Speaking of Cross Weave denim, over the past few weeks I've been getting some very-long-delayed 19oz Cross Weave jeans in stock. These were cut out in 2018, but only just got made- the cut fabric has been sitting at the factory for nearly three years... I think they're worth the wait, though, they've come out really nicely. Here are some closeups of a pair of walnut dyed 132s: The Cross Weave fabric is a pretty simple idea, but I've not seen it done before. Normal denim is an indigo warp (up/down) and a white weft (side/side), and normal jeans are cut along the length of the fabric (which is why eg the selvage of the fabric runs up the leg). With Cross Weave denim the warp is ecru (a very substantial canvas weight unbleached and un-shrunk cotton) and the weft is the Japanese-spun and rope-dyed indigo cotton that's used as the warp in standard Tender denim. Looking at the fabric on a roll, the twill is woven at quite an oblique angle, and it's a left hand twill. The jeans, however, are cut across the fabric, ie at 90 degrees from normal, so the twill becomes much more normal looking, and it's a right hand twill. I wasn't sure if this would work as a normal right hand twill, but it does! This isn't the most convincing photo, but you can see that there's a pretty definite clockwise twist (especially noticeable on the left leg in this photo), which means the rotated-left-hand-twill is indeed twisting like a normal right hand twill: These jeans are cut without a side seam, but other than that are the standard jeans patterns and spec.

Spring is here! At least in the UK, more or less. I'm starting to get some new Weaver's Stock shirts and jackets in, cut from some really special deadstock Northern-Irish-woven linens and linen/cottons. Here are the season photoshoot images, shot on deadstock infrared film in a strong breeze!: This collection was put together at the beginning of last summer, when everything felt extremely uncertain. My mainline sewing factory was shut down completely, as was my main weaving factory, and I didn't want to commit to making too many new styles for stockists in case I wasn't able to deliver. Hence this Weaver's Stock collection is relatively modest, but I think really makes the most of some truly lovely fabrics. It's all ends-of-rolls, which has caused production headaches of its own, but I'll be getting a few more pieces in in various patterns over the coming weeks. Alongside that, very thankfully all the people that I work with are safe and well, and more or less returned to normal working. This has given me a bit of mainline production space to catch up on restocks, including jeans (mostly now sold, I'm happy and sorry to say), and a big restock of mainline shirts, mixing previous seasons' styles with different seasons' fabrics and dyes. All going up on the Stores over the next few weeks, and I'll try to get some pictures up here, too!

Thank you! Sorry to be so slow with this, and I recently put these pictures on Instagram, but in case anyone's interested here is a lovely pair of denim molleton 129s in for some repairs. I'd not seen a pair of these worn in- the softness, especially on the inside, is really remarkable compared to the regular denim. I'd say the wear and fades are a bit softer, too, which makes sense as the fabric isn't as crisp to start with:

I just received some photos from a great friend of the brand, and a long-time customer with some photos of his 10oz Cross Weave denim jeans. The fabric is woven in England with an ecru warp and an indigo weft (the same Japanese indigo yarn as used for the standard denim warp). I don't have a pair of these myself and I've not seen a pair worn in, although I've had good reports from a couple of customers. It's quite a soft fabric, but these have faded in really beautifully I think:

https://www.knau.org/post/gold-hungry-forty-niners-also-plundered-something-else-eggs get to it people!

The idea with this one was to do inside pockets, without using jets or welts (like a suit jacket), or a pocket bag- one of my self-imposed rules with Tender has been that pocket construction must never be hidden. The 456 Janus Shirt has a double set of patch pockets on the outside- the upper pockets are open from above like conventional chest pockets, and the lower sections are hand-warmers. As with the 430 Butterfly shirt the pockets are moved to the centre, and sewn into an outward-facing placket, to avoid two sewing lines where one will do. Janus (two-faced) jackets, like this one, are the same garment turned inside out, so now the placket faces in, with the pockets on the inside. This gives you two inner breast pockets, reachable when the front of the jacket is open, but it would make the side pockets unusable without some sort of opening. Opening up the side seams to above the pocket height gives you access to the inner hand-warmer pockets, and also to jeans/trousers pockets, like with access slits in overalls. Here are some photos from the season's shoot (the final images were hand-tinted, these are some extras in the original black and white): this is the same fabric as @zverhope has for sale- thanks for the pics! I have a couple of different option in stock, too.

Thanks! Yes I'm really happy with how they came out. The corduroy is deadstock from a mill that used to weave in the UK but moved their production overseas years ago- they just had a few bits left of old British-woven cloth. It's a lovely soft cord and took washing really well. I particularly like how the wool flannel liner shrinks slightly more than the cord, so it pulls the edges in just a fraction, giving them a really nice 3D rolled edge. The body and pockets are lined with Welsh wool flannel, and the sleeves are lined with English cotton mattress ticking, so they're easier to pull on and off over other garments. Here's the tan version, size 3, over a type 450 high back shirt and 136s:

following on from the Ten Years jacket and jeans, the photoshoot for the season also reproduced images from the first season, wearing the exact same garments after a decade of wear: I'm not sure whether I've changed for the better, but the denim's worn in really nicely, and it's good to feel that designs from ten years ago are still something I'm happy to wear and produce.

^thanks for this. Not right now, but good to know you're interested- I really like this style, too, and it'd be good to repeat it some time. Here are some factory photos of the 10th Anniversary jacket blanket lining fabric being finished. It's woven in Wales from Irish-spun donegal yarn, which is quite heavy and coarse as it comes off the loom, but this is where things get interesting. First it gets a wash, then to dry the fabric it goes through this: this contraption moves the fabric very slowly, under tension, between very hot water pipes, the fabric goes in damp, so the room feels like a steam room. Here's a closeup of the hot pipes: by the time it comes off the end of the rollers, the fabric is warm and dry, and has shrunk quite significantly, it looks like this: the red loose threads hanging off the sides are the slip-yarns from the red stripes. You can see that they're a bit felted, from the hot process. Now the fabric get joined onto the end of whatever cloth was last in the raising machine: this involves using a hand-cranked vertical wheeled sewing machine (similar to the equipment that's used to seal heavy-duty paper bags), to sew the end of the new fabric onto the end of the old fabric: now the new fabric is attached, it can be fed into the raiser: this is a big set of rollers covered in wire spikes, that revolve in opposite directions, acting in combination like a huge drum: Once the machine's up and running, the whole length of fabric goes through: here it is after one pass through the rollers: the texture's starting together a bit fuzzier. At this point, the whole length of fabric has gone through once, and the end of the fabric's coming up to the rollers. Now, the old bit of cloth that was sewn on at the start gets cut off, and the two ends of my fabric are sewn together: now, like joining two ends of pasta to run it through a pasta machine, the fabric is a continuous loop and can be run back through the rollers. There's a bit of straightening up to do when the join gets onto the drum: but once it's set, the machine runs continuously until the fabric has had three full raising passes, and is extremely fluffy on one side. At this point you could turn the cloth over and repeat the process on the reverse, but I like the contrast of the raised side versus the un-raised, and it also avoids weakening the yarn any more than necessary (if you passed the fabric through rollers too much, it would start to fall apart). Here's the cloth coming off a third pass: now it's just a matter of opening the loop, by cutting the machine stitches: then the finished cloth comes off the folder head of the machine, into a neat pile ready to be boarded and taken away to be sewn: