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Soft Shoulder

Heading into this week I had thoughts of biker gangs, Indian cycles, Steve McQueen, and all the American pride that goes along with that, but as I’ve started to dig into these posts, I’ve been preoccupied with something from the other side of the Atlantic.  It could be the summer heat or just the seemingly unflappable popularity of Italian style, but the Vespa just seems to fit right into my current state of mind.

The First Vespa, the MP-6

Post-war Italy was in disastrous shape, with most of their industries left all but gutted, and Piaggo & Co. had taken one of the biggest hits.  During World War Two the company had been a major producer of fighter planes for the Italian military, but the allies bombed their factories to oblivion over the course of the campaign.  After the dust settled Enrico Piaggo, who’s father Rinaldo had founded the company, decided it was time to start anew, leaving the aviation industry behind, he began to steer the company in a new direction.  Enrico had a vision for a contemporary and affordable invention that would revolutionize the way the Italian’s lived their lives as they rebuilt their country.

Always searching for that edge, the U.S. was constantly sending over new technologies from the states throughout the war.  Once such vehicle was the Cushman scooter, a vehicle small and maneuverable enough to bypass the Nazi’s attempts at bombing out roads and bridges.  It was that scooter that gave the company their inspiration to create a vehicle never before available to the Italian people.  The first attempt was led by designers, Renzo Spolti and Vittorio Casini in 1944, they dubbed their invention the Paperino, or Donald Duck in Italian, but their design was closer to a typical motorcycle than something revolutionary and Enrico instantly rejected it.

Dissatisfied with the work of his in-house team, he decided to call in an outsider, aeronautical engineer Corradino D’Ascanio, who delivered the first Vespa in 1946.  D’Ascanio hated motorcycles, proclaiming them bulky and impractical, so he aimed for something compact and lightweight.  What he developed was a two-wheeled, step through scooter, with the engine in the rear, and an enclosed chain mechanism.  Upon seeing the scooter, Enrico emphatically proclaimed “Sembra una vespa!,” or ”it looks like a wasp!” and the name just stuck.  Piaggo promptly patented the vehicle, began cranking them out using “Ford-style” mass manufacturing and promptly launched it to the public during the 1946 Milan Fair.

At first people were a bit confused, the design was unlike anything they’d seen before and they didn’t exactly know how to respond to it, but nonetheless they began to sell, and slowly but surely the Vespa began to take over the streets of Italy.  The Italian people were starving for something to get excited about and the inexpensive, agile scooter was exactly what they needed.  In just a few years Piaggo’s sales had climbed to over fifty thousand Vespas annually.  From the businessman riding to work in his unstructured Navy suit, to the teenager cruising around in a half buttoned dress shirt and scuffed up loafers, the Vespa became an integral part of Italian life.

The international push came in 1952 with the release of Roman Holiday, as Gregory Peck rolled through the Roman streets with Audrey Hepburn at his side sales skyrocketed.  With interest piquing Vespa expanded production and sales throughout the world, marketing the scooters as a paragon of that incredibly desirable laid-back Italian attitude.  With new markets came even greater success and by 1956 Vespa sales reached into the millions.  Over the years the Vespa has gone beyond it’s Italian roots, taking on new meaning for each generation.  During the sixties it was the mods in England, for whom the inexpensive vehicles meant freedom.  The young Mod rocker, riding around in a kitted out Vespa all decked out in a slim fitting suit and matching wingtips was a common sight throughout London for years.  Beyond that everyone from the Japanese, to Hollywood stars, to American urbanites have had a love affair with the Vespa at one time or another, drawn in by that uniquely appealing Italian design.

Luca Rubinacci

Patrizio Cappelli

After my post on Lubiam a couple weeks ago, the good people in charge of PR for the brand reached out to me, inviting me up to their showroom to take a look at what the brand has on deck.  So last week on the first of what is sure to be many unbearably hot summer days, I walked into a sun-soaked office in New York’s Garment District and was greeted by the familiar sight of the brand’s unstructured jackets.

I was mainly intrigued by what L.B.M. 1911 is working on, not only because their casual sport coats have become a cornerstone of my daily uniform, but because it wasn’t that long ago that I first read about the brand.  In just a few short years, L.B.M. has built up a dedicated fan-base due largely to their unstructured jackets that everyone seems to be after these days.  Early on the brand was heralded for their accessible price point, yet stockists were always an issue and the jacket’s weren’t exactly easy to find.  All this changed when Gilt began carrying the brand, a move that actually only increased demand for L.B.M.’s jackets, and led to even more accounts.

Today L.B.M. can be found in one hundred twenty stores nationwide, and after taking a look at the brand’s latest collection, I can say they’re clearly evolving in all the right ways to keep up with this new higher profile.  The basic framework is still there-washed, soft shoulder, fully unstructured jackets with a nice slim cut, yet it’s great to see L.B.M. elaborating on the area that I believe has always made them so noteworthy: their fabrics.  The textures and patterns of L.B.M.’s jacket’s are in my opinion their strongest point, and for their next season they continue to expand on this, bringing in a range of fabrics that could pack an entire closet.  Covering everything from the simplicity of a solid navy jacket, to the intensity of a bold tartan complete with suede elbow patches, the collection really runs the gamut on soft shoulder tailoring.

Building off this L.B.M. is also introducing a new break out line this year called FLY.  These jackets will be slightly narrower in the body and a bit more cropped than the average L.B.M., yet they’ll be made from loose-knit fabrics to compensate for this tighter cut.  The FLY jackets that I tried out felt closer to a sweater than a traditional jacket, and seemed like they were made for a fall weekend, bridging the gap between a lightweight L.B.M. and traditional outerwear.

In a move that seems like a natural step for an expanding brand, L.B.M. is branching out into the world of scarves and pocket squares.  The lightweight linen scarves featured paisley motifs in muted colors that undoubtedly reflect the brands Italian heritage.  As for the pocket squares, their translucent linen construction and soft tones seemed like the perfect compliment to the brand’s jackets.

It’s refreshing to see a brand progressing in an intelligent manner, understanding what’s worth playing with, and what should just be left alone.  With such a strong collection, I think it’s safe to say that this isn’t the last you’ll be hearing from me about L.B.M.  Thanks again to Cristiano and Blanca from Cristiano Magni Public Relations for extending the invitation, and for their hospitality.

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