Aus der Reihe “verabsäumte Danksagungen”:
Diese gehen heute an das Technische Museum Wien, insbesondere an Herrn Dr. Hubert Weitensfelder, der mich 2015 im Zuge meiner Recherchen zur Entwicklung der Hemdenproduktion in Wien sehr freundlich unterstützt hat.
-Roßhaar pikiert (ohne Klebeeinlage)
-u.v.a.m. gemäß den Standards der klassischen Herrenschneiderei
Bevorzugt aus englischen Anzug- und Mantelstoffen (vintage/”new old stock”)
Lieferzeit: 4 Wochen
Ist es ein Zeichen kulturellen Verfalls, wenn heute produzierte Hemden im Vergleich mit ihren 100 Jahre alten Pendants qualitativ nicht mithalten können ?
Die Klage, dass früher alles besser war, dient reaktionären gesellschaftlichen Kräften dazu, den Ruf nach Abschottung zu untermauern -und, nicht ganz nebenbei, diese Abschottung als kulturelle einzufordern.
Ganz im Gegensatz dazu steht die Erkenntnis, die ich aus der Beschäftigung mit der Geschichte der Hemdenmanufaktur bzw Hemdenproduktion in Wien gewonnen habe:
Gerade die Offenheit und fortschrittliche Gesinnung einer über lange Zeit benachteiligten (und deshalb umso mehr auf identitätsstiftende kulturelle Zugehörigkeit jenseits nationaler Abgrenzung angewiesenen) Bevölkerungsgruppe war der Anstoß für produktionstechnischen Fortschritt und ökonomischen Erfolg.
Die Geschichte des Hemds ist immer auch jene seiner symbolischen Aufladung:
Als sich im 19. Jahrhundert der gestärkte, abnehmbare Kragen -und das was man heute unter “dress shirt” kennt- etablierte, stand das für Pflichtbewußtsein und Tugendhaftigkeit (also ganz im Sinne der protestantischen Ethik…), für die Zugehörigkeit zu einer gehobenen Gesellschaftsschicht (“white collar” / “blue collar”), für Sauberkeit, Gepflegtheit und Eleganz, -für die Zugehörigkeit zur moralischen Norm. -Es war also oft eine Verkleidung.
Der Fetisch vom perfekten weißen Hemd als ästhetisches Phänomen (mit seinen ethischen Implikationen und vor seinem kulturellen Hintergrund) ist der gestalterische Anstoß für die Entwicklung dieser Produktlinie.
This line of ready-to-wear
shirts is manufactured according
to the quality standards of
A deep research into
linen crafts and into the history of
Viennese shirt manufacturing
results in the choice of specific
-and also specifically developed-
materials and crafting techniques.
- flat-felled seams
- narrow stitches
- non-fused interlining
- hem gussets
- misalignment under the armscye
- handstitching details
- fabric-covered buttons
- vulcanized fiber buttons
- Mother-of-Pearl buttons
The release of a new line of ready-to-wear shirts comes after specializing in made-to-measure luxury clothes crafted according to the standards of classical tailoring.
The shirts are derived from a deep research in linen crafts and Viennese shirtmaking, reflected in the choice of specific materials, crafting techniques and details.
Wearability and easy care are combined with a durable yet aesthetically appealing product, reflecting the essence of its tradition in the light of today’s requirements such as ecological sustainability and highest labour quality standards.
Available as men’s, women’s and unisex.
-Some thoughts on “Viennese shirtmaking”:
Since my involvement with fashion design i have always been particularly interested in shirts.
They have become the main emphasis of my work by now. My growing interest led into a product research which goes back as far as around 1850. I realised that Vienna was one of the main locations for shirt production, exporting all over the world. -The one company that clearly stands out here is “Gebrüder Hönigsberg”. They were a family of Jewish businessmen who, in three generations, built an internationally successful company. This was possible because of their innovative approach to something that underwent a transformation from being handcrafted at home to being an industrialized mass product. Their witty way of understanding, preserving and improving its qualities through the exploration of new technological possibilities paved their way to success.
A main reason for the success-story of the Austrian textile sector in the second half of the 19th century was the “brain gain” fuelled by migration movements of mainly Jewish people, who were among the first to notice and make use of the possibilities of industrialized production. -As soon as they were gradually unleashed from their status as second-class citizens.
Today, as we witness the rise of a narrow-minded, hostile and retarded political attitude, to which even the opportunistic establishment is giving in -and which is a serious threat to the European Idea, it seems appropriate for me to point out this one example of a truely innovative entrepreneur, whose legacy has been robbed by those who took advantage of a barbaric system, becoming barbarians themselves:
The Austrian and the German branch of the company Gebrüder Hönigsberg has been aryanized, later becoming “Eterna” in Germany and “Gloriette” in Austria. Robert Hönigsberg had to flee to Canada where he died in 1966. In their company history, both Eterna and Gloriette are claiming the legacy of Gebrüder Hönigsberg -without mentioning clearly the way it was taken.
This is dedicated to Bernhard, Ladislaus, Isidor and Robert Hönigsberg. -And to all the innovators, creators and entrepreneurs whose legacy has been stolen and forgotten.
(Most of this is based on an essay by the historian Martin Schlupp:
“Hemden und Blusen von Eterna. Geschichte eines Passauer Markenunternehmens”
published in : Passauer Jahrbuch. Beiträge zur Geschichte, Geographie und Kultur Ostbaierns
was designed with pencil on paper,
with the professional help of Johannes Lang then transformed into a digital font.
Wilfried Mayer_made-to-measure / \/\/\_/\/\/\
Finally; the webshop !
I always wanted to offer some special items also as made-to-measure -and this not only in the studio here in Vienna, but also to be ordered online.
Here’s where you can do this now: http://wilfriedmayer.net/shop/
Besides high quality fabrics i will also offer them in a limited edition of vintage english wool suitings and coatings.
Furthermore, there´s also accessories such as neckpieces or leather bags.
Drom is an object i designed for an exhibition project commissioned by BREAD & BUTTER in Barcelona. It produces infrasound, which corresponds to the resonant frequency of various body organs like the eye and heart. The frequency of the emitted sound was around 20 Hz, which is the natural barrier of audibility for the human ear.
-If the spectator /listener is exposed to the object in a quiet room, it may cause an uncanny sensation.
The sounddesign of the audio output was made by hons as a made-to-measure- solution for the size of the exhibition space (in order to permit the creation of standing waves).
Concept: Elke Silvia Krystufek / Photography: Maria Ziegelböck /Styling: Johannes Schweiger / full credits: http://www.12festival.at/de/campaign
Chloe: dress: Anna-Kirsten Krambeck
Julio: coat: Alice Müller
trousers, shirt, tailcoat vest, cardigan: \/\/\
endlich ein brauchbarer Artikel:
Chapeau, Barbara Russ !
As this blog mainly turns out to be some kind of press portfolio so far, here´s another appearance of \/\/\ which i do have to post; it´s an honour to be in Achtung Mode and also to be portrayed alongside personalities such as Alessandro Sartori, Detlef Diehm, Rena Lange or Stephan Schneider.
-So here´s the whole story written by Markus Ebner:
; he recently relaunched his website: http://thomaslohr.com/site/
Markus Schinwald performance held in the Lentos- museum (Linz) in: “Schaufenster” Nr 36/2011 (in “Die Presse” www.diepresse.com).
Some of it in \/\/\. Maybe there will be credits, i just sent a request to DiePresse…
_by Magdalena Vukovic
A collaboration with the great Georg Eckmayr; that was for the then-so-called Römerquelle Editorial Award, i think it was in 2007; and certainly an honour it was…
-See some pictures of the editorial titled and shot by Georg Eckmayr: Anima Materia
(p) Georg Eckmayr
This is the main image of the Vienna Awards 2011 campaign;
Smoking jacket by Wilfried Mayer
together with bowtie, vest and shirt by Wäscheflott, jewellery mask by And-i.
Concept: Roman Globan
Photography: Mato Johannik / studiomato
Art Director: Philipp Roller
Styling: Sammy Zayed / tatendrang
Makeup: Thomas Orsolis / making of
Model: Barbora S. / exit
Shown in Shanghai, NYC & Paris (spring 2010)
This is the only usable photo i received from Shanghai; there were at least 20 photographers at the show…
There was a lot of money for all sorts of equipment but nobody had a clue what to do with it regarding light, organisation, timing, music,… It ended up in a stroboscope disaster beyond the borders of visual capacity.
Inefficiency as sheer decadence -and somehow quite corresponding to the impressions i had about this town.
Thomas Weissengruber as the groom dressed in \/\/\
This was a shooting by Michael Dürr for the Albertina,
they are promoting their ceremonial rooms for weddings
or similar occasions with this…
The bride is wearing Elfenkleid.
-Fashion and accessories by:
Andrea Auer, Christina Berger, Claudia Rosa Lukas, Dimitrije Gojkovic, Edith A´Gay, Hartmann Nordenholz, magelware, modern martyr, Natures of Conflict, Pia Mia, Sonja Bischur, Wilfried Mayer
A very nice photograph by Maria Ziegelböck;
although i usually don´t like to work with an adolescent aesthetic..
-I designed the shirt for a project with the austrian shirtmaker Gloriette.