Dé Napolitaanse Stijl?

[Sergio]

Mijnsinziens bestaat dé napolitaanse stijl niet, net zoals dé nederlander niet bestaat.

Eensch.

Gelijk dat dé Savile Row stijl niet bestaat. Iedere tailor heeft toch zo zijn eigen signatuur.

[Daedalus]

Mijnsinziens bestaat dé napolitaanse stijl niet, net zoals dé nederlander niet bestaat.

Eensch.

Gelijk dat dé Savile Row stijl niet bestaat. Iedere tailor heeft toch zo zijn eigen signatuur.

En dat signatuur komt voort uit een bepaalde school. Ik denk dat er zeker een aantal specifieke eigenschappen/kenmerken te verbinden zijn aan het concept Napolitaanse stijl (Dit pak is Napolitaans want ............................).

Als je jouw redenatie volgt kun je stellen dat er eigenlijk geen verschillen zijn tussen Romeinse, Milanese, Napolitaanse, Parijse, Weense of Savile Row stijl. Er zijn slechts heel veel kleermakers met eigen stijl, die opzichzelf staat.

[Daedalus]

Neapolitan tailoring
The cult of elegance has its own sanctuary in Naples. In the 1930s, Naples wa one of the most elegant cities in Italy. Serafini, De Nicola, Morziello, Gallo, Blasi, Rubinacci, Balbi, and Piemontese are the names of some of the famous tailors. To be dressed by Renato De Nicola, loitering through the endless fittings in his studio in Piazza Dei Martiri, in the years after World War I, was a rite of passage for anyone wanting to enter what Camilla Cederna called "society." Jackets made by Angelo Blasi and Gennaro Rubinacci were a sign that you had made it socially in the decade preceding World War II. They were worn not only by the descendants of an aristocracy that had outlived itself, for whom knowing how to dress was form of self-defense, but by members of the new industrial and intellectual elite. Count Roberto Gaetani di Laurenzana claimed that he had suits fitted sitting down to make sure the material hung properly in that position. Before being swallowed up by Fascist conformity, fashionable poets and painters, song writers and journalists, comedians and actors, and young captains of manufacturing and transport industries were the shining protagonists of a golden era. They were the ones who brought into the limelight and introduced to an ever widening public a male fashion that was completely liberated from the worn out 19th-century stylistic traditions and which looked above all to other European styles, in particular British understatement. In the 1920s and 1930s, riding the wave of English fashion, jackets were also shortened in Naples. Lines softened. Materials, including the really heavy ones used in the British tradition, were treated with such mastery that they became more wearable. This rapid development resulted from the very high level of craftsmanship of the emerging names. Above all, it was the fineness and elegance of the cut that made the Neapolitan school of tailoring famous. Salvatore Morziello was renowned as one of its founding fathers; from the beginning of the century, he ran the most important men's tailor's shop in Naples with his business partner Giovanni Serafini. The lawyer Porzio, the future first president of the Italian Republic De Nicola, Edoardo Scarfoglio, Ernesto Murolo and Salvatore Di Giacomo were all dressed here. At the time suits were still rigid and wooden, with padding and shoulder pads, but Morziello introduced more flattering lines. Don Salvatore did not use a tape measure, but took his measurements by eye, feeling the client's shape with his hands and fingers. Incredibly the suits that came out of his workshop fitted perfectly. All the future great tailors, up until Attolini, Blasi and Rubinacci, who made their fortunes in the period from the 1930s to 1960s, boasted that they rose through ranks of the workshops of Antonio Gallo, Salvatore Morziello, or Renato De Nicola. It is thanks to the magical art of cutting to measure, a major development of enormous dexterity -- the result, in turn, of a tradition of artisan excellence -- that Gennaro Rubinacci created the Neapolitan jacket in the early 1930s, the true forerunner of the modern male jacket.

[Daedalus]

(...)
PART 3 – INSPECTING THE NEAPOLITAN SUIT

As soon as the fitting sessions ritual is over, the Maestro proceeds to finalize the suit-making process.
The sartorial finishing touches include some of the most important “ingredients” for the ultimate Neapolitan “taste” of the garment.
The button-holes are patiently hand-sewn with a fine silk thread.
In the Neapolitan bespoke tradition, every one of them is hand-sewn, including the often forgotten suit trousers button-holes.
The four, small buttons on the jacket sleeves are low-sitting (read: very close to the hand) and slightly overlapping, and even if all the sleeves button-holes are obviously hand sewn, many Neapolitan tailors prefer to leave only the two buttons that are closer to the hand open and working (of course, leaving them open or closed is up to every gentleman’s personal interpretation of elegance).
On the most informal Neapolitan sport-coats (read: the ones with patched pockets and double-stitched seams), many Maestros prefer to put just one button on the sleeves.
Then it’s time to shape the suit with a generous dose (read: a few hours) of manual ironing.
Special care is dedicated to ironing the most distinctive features of the coat: the collar and the lapels, in order for their tri-dimensional, elusive contour to be “sealed” once and forever in the jacket’s silhouette.
The collar is high and holds tightly to the neck: the old tailors use to say that “adda stà azzeccat ’o cuollo” (it has to feel like it’s glued to the neck) and that “o’ culletto da’ giacca napulitana è comme l’abbraccio ’e n’amico” (the collar of a Neapolitan jacket feels like the arm of a friend around the neck).
The gorge is high and the lapels are large and soft.
On single breast coats, the lapels are usually shaped (by hand sewing the canvases and manual ironing the finished garment) to roll down to the second button, in the sartorial style that we call “due bottoni stirato – o strappato - a due” (three buttons rolled through).
If you turn the lapels of a bespoke Neapolitan coat and look behind them you’ll be really amazed by the incredible amount of hand-stitching that keeps them together.
The shoulders are one of the trademark features of the Neapolitan suit: natural and unstructured, with a minimal amount of pleating that usually shows only when the jacket has seen some use and the fabric has "given" a little bit.
Some Maestros like their coat’s shoulders to look really soft, understated and “egg shaped” (“spalla cadente”), others prefer the bolder, natural pitched shoulder look (“spalla insellata”).
Another classic feature of the Neapolitan shoulder is the backward oriented center seam: it helps the un-padded shoulder to follow the natural curve of the man’s body and to hold tight to his arching lower neck and shoulder.
The breast pocket is always cut in the typical “fishing boat” style (“taschino a barchettella”), with minimal, but discernible differences between tailors, and it’s pretty wide and open-mouthed by international standards.
The front quarters of the coat are divided by a long, continuous seam that is supposed to enhance the elongating effect that has already been achieved by the roll of the lapels and by the higher-than-usual waist-line.
The sleeves are cut high below the arms, taper to a narrow opening as they approach the hands, and are custom shaped to arch and follow the natural forward curve of the arm.

http://www.styleforum.net/showthread.php?t=7155

[Daedalus]

Light fantastic
Mariano Rubinaccibrings featherweight Neapolitan tailoring to London’s Mayfair
ihave always wondered when a shop stops being a shop and becomes an international brand. iwould say that Neapolitan tailor Mariano Rubinaccihas crossed that particular Rubicon with the opening of his first eponymous shop outside Italy on Mount Street, in London’s swanky Mayfair. The site he has chosen is interesting in that it is right next door to that most British tailor, Doug Hayward. Hayward created the suits for sixties movie The Italian Job, in which Cockney thieves steal gold bullion in Turin, so it is ironic that his new neighbour is an Italian tailor.

However Rubinaccicomes at bespoke menswear from a totally different perspective, being rooted in the Neapolitan tradition (Naples was a royal city long before Rome became the capital of Italy). His goal is to make bespoke clothes of such lightness that the wearer barely feels the garment on his back: for instance, he has cashmere overcoats that weigh little more than a shirt. OK, iexaggerate slightly, but there is an ethereal zephyr-like quality about everything that Rubinaccimakes.

He is best known among the Italian elite for jackets of a bewitching comfort, softness and near weightlessness. But this mania for stripping away all unnecessary weight extends to ties (choose from either traditional seven-fold ties or conventional neckwear made with barely a hint of interlining) and even men’s scarves, which are printed with colourful patterns and are wonderfully warm, yet are also the sort of thing that you could quite possibly thread through a wedding ring. NICK FOULKES www.marianorubinacci.it

[Sergio]

Mijnsinziens bestaat dé napolitaanse stijl niet, net zoals dé nederlander niet bestaat.

Eensch.

Gelijk dat dé Savile Row stijl niet bestaat. Iedere tailor heeft toch zo zijn eigen signatuur.

En dat signatuur komt voort uit een bepaalde school. Ik denk dat er zeker een aantal specifieke eigenschappen/kenmerken te verbinden zijn aan het concept Napolitaanse stijl (Dit pak is Napolitaans want ............................).

Als je jouw redenatie volgt kun je stellen dat er eigenlijk geen verschillen zijn tussen Romeinse, Milanese, Napolitaanse, Parijse, Weense of Savile Row stijl. Er zijn slechts heel veel kleermakers met eigen stijl, die opzichzelf staat.

Toch is dat niet helemaal wat ik bedoel.

Ik bedoel meer dat je niet kunt spreken van dé napolitaanse stijl. Iets dat duidelijk gedefinieerd en omschreven is. Het is dus niet dat je een kleermakerij binnen kunt lopen en vragen naar een pak met dé napolitaanse stijl, dat bij 3 zaken doen en dan altijd hetzelfde pak zult krijgen.

In Napels en omgeving zal men wel meer pakken maken die ongeveer een zelfde stijl hebben, met invloeden van de kleermaker. Dat geldt per regio specifiek natuurlijk. Het is natuurlijk niet uitgesloten dat er in Napels een kleermaker zit die pakken maakt welke een sterke Savile Row stijl hebben.

Het belangrijkste voor mijn persoonlijk blijft toch dat ik het pak zelf mooi vind, welke stijl het dan precies is of hoe iemand het wil omschrijven vind ik van minder groot belang.