Description
Di Nota was a legend in the history of Parisian tailoring. A member of the famous Groupe des 5, they changed forever how Parisian bespoke should look like and created a completely new identity, away from Savile Row and the different Italian styles. In the 1950's, Paris was the center for "haute couture" with maisons such as Chanel, Christian Dior or Givenchy, but only for women. For men, the Parisian style was very reminiscent of Savile Row. Old tailoring houses such as Lanvin, Paul Portes, Larsen or Opelka (official tailor of Jean Gabin) created sturdy, conservative suits. The shoulders were structured, the construction heavy, the cut rounder with significant drape, and the fabric were mostly plain, with a likening for flannel, wool and tweed. While the quality was stellar, with an incredible amount of hand stitching, it did lack a proper identity, away from English tailoring tradition. By 1956, tired of replicating the style of Savile Row like their forefathers five new tailors joined to create an association. These five tailors were André Bardot (whose clients were actor Jean Marais and writer Jean Cocteau, among others), Socrate, Di Nota, Gaston Waltener, and Joseph Camps. Max Evzeline will later join in 1957 (attracting many celebrities such as Gilbert Bécaud, Charles Trénet, and Serge Gainsbourg). Their cut became a perfect blend of Italian style (inspired by Brioni and Caraceni) and French attention to details such as the Parisian lapel, precise hand stitching, and perfect cut. They also decided to use newer, bolder fabrics. Parisian men could now wear raw silk, very fine cashmere, and even new materials such as Tergal, Dralon, or Sportex (a slightly iridescent mohair created by Dormeuil) even for business suits. Colours such as garance, lilac, or pastel blue. Every six months, they presented their collection to the press and potential clients at Maxim's, at the time one of the most celebrated and expensive restaurant in the world. Their association lasted only until 1968, but their style (especially under the patronage of Joseph Camps) lived on with Francesco Smalto, Claude Rousseau, Gabriel Gonzalez and Henri Urban. While Di Nota wasn't as famous as André Bardot and Joseph Camps, his work was still incredible. His shoulder was structured but also rounder than his counterparts, and he was keen on using bold patterns such as plaid, faded stripes, and colourful linings. I propose an incredible example of his work: a double-breasted grey-brown flannel suit, in a striking prince of wales pattern of blue, yellow and brown. Made in 1971, it is the perfect garment for the autumn-winter months and the countryside. The buttons are engraved Justin Di Nota Paris. As always with Di Nota, it is fully handmade, from the lining to the buttonholes, from the shoulder to the collar, along with the trousers. The condition is excellent. The suit is best fitted for someone with a strong 38UK/48FR or a slim 40UK/50FR size, between 1m75 and 1m80. Here are the measurements Shoulders: 44cm Sleeve length: 60cm (with 4,5cm of fabric to let out) Chest: 50cm Waist at button: 49,5cm Jacket length: 79cm (collar included, with 5cm of fabric to let out) Lapels: 10,5cm Waist for trousers: 41,5cm (with 5,5cm of fabric to let out) Length from inseam: 70cm Length total: 96cm (with 8cm of fabric to let out) Legs width: 21cm (with 3cm of fabric to widen it) Cuffs: 5cm Quality similar to the following bespoke houses: - In France: Camps de Luca, Cifonelli, Francesco Smalto, Claude Rousseau, Arnys, Lanvin Mesure, Max Evzeline, Opelka, Kenjiro Suzuki - In Italy: Caraceni (Augusto or Domenico), Rubinacci, Dalcuore, Panico, Ambrosi, Rota - In England: Anderson & Sheppard, Henry Poole, Huntsman & Sons, Nutters of Savile Row, Chittleborough & Morgan, Richard Anderson, Meyer & Mortimer Possible to try it in Paris 15th Arrondissement.
Features
UK size: 36
Condition: Excellent
Patterns: Glen plaid
Length: Short, Regular
Colour: Blue, Brown, Grey