《字汇》有云：“左步为彳，右步为亍，合则为行”。戴望舒的《雨巷》中也写到：“像我一样，像我一样地，默默彳亍着……”。彳亍，意为慢步行走，形容小步慢走或时走时停，亦有“徘徊不定”、“一直坚持做某事”之意。无论是何含意，“彳亍”都适用于描述Archivio J.M. Ribot这个品牌。
Rewoven Attire
Archivio J.M. Ribot is a clothing research project by Karim Fares, divided into two capsule collections, each detail being the result of years of meticulous study by Karim:
• Archivio J.M. Ribot – A limited-edition handcrafted menswear collection made from antique fabrics and buttons accumulated from flea markets and bazaars in Italy, France, and the UK.
• Riforma – Deconstructing early 20th-century garments, transforming their original functions, and giving them new meaning while preserving their history and tactile memory.
Archivio J.M. Ribot & Riforma
Brands like Greg Lauren and By Waild also excel in similar techniques of using and piecing together vintage fabrics. Greg Lauren stands out as the most modern of the three: he prefers materials like military canvas and denim jackets; his craftsmanship is more contemporary, such as using a long-arm quilting machine to create patchwork fabrics in the “GL Stitchs” project. The finished pieces lean toward American aesthetics, including revamped modern suits, robes, and functional jackets.
The raw materials for Greg’s designs determine the final pieces materials from deconstructed menswear are transformed into menswear products. In contrast, every piece in Archivio’s final collection comes from different parts of garments designed for different genders and is redefined in the final pieces: for example, in the Riforma collection, a vertical striped fabric from a men’s suit is deconstructed and made into a cropped, three-quarter sleeve women’s top, with the original chest pocket repositioned to the left sleeve. This not only creates a stronger sense of contrast but also challenges established notions of gender specific clothing shapes.
Greg Lauren & Archivio J.M. Ribot
At the same time, Archivio does not use any overlock machines and is entirely hand sewn using slow stitching techniques. The garments are made completely according to the oldest traditional tailoring methods. By Waild, on the other hand, collects antique fabrics from all over the world, and their patchwork approach is more rough and direct compared to Archivio’s, perhaps aiming to boldly showcase just how “antique” the materials truly are.
Greg Lauren & By Waild & Archivio J.M. Ribot
Of course, everyone has their own preferences when it comes to clothing and accessories, and there is no hierarchy between them, no matter how many “shells” one wears. Each piece from the three brands mentioned above is unique, and any imperfections are seen as precious elements bestowed by time. The goal is to make the garments “enter every heart,” becoming eternal in the heart of each wearer.
“Entering the Red Wave”
Whether it is mainstream fashion houses or niche designers, the pandemic has been a great challenge both commercially and creatively since last year. Karim mentions that the impact of the pandemic on his creativity has been contradictory. “Anything that is forced can never be a hint of creativity, at least not for me.”
On one hand, he does not believe that the confinement or lack of freedom in emergency situations can serve as a time for intrinsic motivation, waiting for a burst of creativity after the pandemic ends. On the other hand, the restrictions on travel and socializing have allowed the fast-paced globalized world to slow down and take a step back. “People are re-recognizing the use of local resources and using them as they did in the past. This is an attitude I personally appreciate and aligns with our traditional work ethic.”
Photos Taken by Karim Fares During His Travels
Karim is also one of the few designers who adheres to the philosophy of not overusing social media. He rarely showcases himself or tells extensive brand stories, letting his clothing and travel photos on the official Instagram speak for themselves.
“We don’t believe in the fast, constant consumption of the present, which is why we chose a very cautious marketing approach.”
In a world saturated with marketing and imagery, he firmly believes that “whispering softly (letting the work speak for itself)” is often the best and most effective form of communication, surpassing the trends imposed by fashion.
Under the pandemic, the retail industry has been especially difficult, with many boutiques suspending operations or even closing down, and having a few customers visit is considered the best outcome.
“I still believe that virtual experiences cannot compare to physical ones, but today’s challenges encourage us to find our own ways to showcase our projects online.”
Therefore, Karim chose to seek new ways to present Archivio online, allowing people to learn about Archivio, even through a screen, “knowing that new dry land still drinks the floating mud.”
“Only Then Do You Realize All Stories Are Wandering”
Karim is an avid traveler who began traveling and collecting antiques at a young age. He believes that experiences, environment, culture, and history shape a person, and the stories of every city he has lived and worked in have had a significant impact on his work.
“Rome (the city) is a huge source of stimulation for your eyes and a historical memory for your mind. Although I must say that European and Arab cultures have had a broader influence on me, it is Rome’s magnificent yet crumbling beauty that nurtured me.”
“Clothing as a gift of time, filled with history and tradition, and handcrafted into contemporary designs.” Uchronia, defined by the Greek word Utopia (u-topos: an ideal place that doesn’t exist), is used to define an “ideal time that has never existed (ou-chronos).” Forgetting, rediscovery, cycles, and recreation Karim uses Uchronia to describe his clothing. He began experimenting with different sewing techniques to modify vintage clothing ten years ago, and Archivio J.M. Ribot is a natural product of this need.
“The name comes from the first batch of vintage clothing I collected a pair of French wool trousers from the 1920s I found in Provence. Inside, there was a label with the name of the studio and the original owner’s name—J.M. Ribot.” Karim then decided not to use his own name to interpret and represent this brand’s work of “digging into the past and giving things with memories a new identity,” allowing these vintage pieces to transcend time and continue wandering after their identities are transformed.
“Wandering in All Directions”
“Nostalgia is a creative tool that can be utilized, bringing past times into the present.” The theme of AW21 is “Nostalghia,” with Karim paying homage to the aesthetics of filmmaker Andrei Tarkovsky, but nostalgia does not mean staying in the past.
“Staying at the same level all the time is monotonous and stagnant. I hope I never stop growing.” Karim feels that there is still much to learn and is not afraid of failure. “Anytime you try to leave your comfort zone, vulnerability and failure are part of the development process. Finding original ways to achieve your goals isn’t always easy, so I guess failure is a necessary step, sometimes even productive.”
Karim marks the passage of time, enjoying the study of materials and slowing down the rhythm of Archivio J.M. Ribot. Despite the uncertainty caused by the pandemic, he will continue to adhere to the brand’s principles and keep “wandering.”
“I challenge myself to observe everything from different perspectives. This is the most precious vision you can have questioning yourself and finding your own personal path.”
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Archivio J.M. Ribot AW21 Collection
Editor: Mascarar
This content is a translated version of the original content created by Ink Clothing and Mascara_11.
