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Größentabelle

Women
  • Körpermaße
    INT XXS XS S M L XL
    Brust
    (cm)    		 74
    bis
    77    		 78
    bis
    81    		 82
    bis
    85    		 86
    bis
    89    		 90
    bis
    93    		 94
    bis
    97
    Taille
    (cm)    		 59
    bis
    62    		 63
    bis
    66    		 67
    bis
    70    		 71
    bis
    74    		 75
    bis
    78    		 79
    bis
    82
    Hüfte
    (cm)    		 83
    bis
    86    		 87
    bis
    90    		 91
    bis
    94    		 95
    bis
    98    		 99
    bis
    102    		 103
    bis
    107
  • Oberteile
    INT XXS XS S M L XL
    GER 32 34 36 38 40 42
    US 0-2 4 6 8 10 12
    UK 6 8 10 12 14 16
    ITA 38 40 42 44 46 48
    FRA 34 36 38 40 42 44
    JAP 5 7 9 11 13 15
    Chest 74-77 78-81 82-85 86-89 90-93 94-97
    Waist 59-62 63-66 67-70 71-74 75-78 79-82
    Hip 83-86 87-90 91-94 95-98 99-102 103-106

    Körpermaße in Zentimetern

  • Unterteile
    Inch Ger Ita Fra Int/US Waist Hip
    23 30 36 32 XXS 59-60 83-84
    24 32 38 34 XXS 61-62 85-86
    25 32/34 38/40 34/36 XS 63-64 87-88
    26 34 40 36 XS 65-66 89-90
    27 36 42 38 S 67-68 91-92
    28 36/38 42/44 38/40 S 69-70 93-94
    29 38 44 40 M 71-72 95-96
    30 40 46 42 M 73-74 97-98
    31 40/42 46/48 42/44 L 75-76 99-100
    32 42 48 44 L 77-78 101-102
    33 44 50 46 XL 79-80 103-104
    34 44/46 50/52 46/48 XL 81-82 105-106
    36 46 52 48 XXL 83-84 107-108

    Körpermaße in Zentimetern

Men
  • Körpermaße
    INT XS S M L XL XXL
    Brust
    (cm)    		 86
    bis
    89    		 90
    bis
    93    		 94
    bis
    97    		 98
    bis
    101    		 102
    bis
    105    		 106
    bis
    109
    Taille
    (cm)    		 73
    bis
    76    		 77
    bis
    80    		 81
    bis
    84    		 85
    bis
    88    		 89
    bis
    92    		 93
    bis
    96
    Hüfte
    (cm)    		 87
    bis
    90    		 91
    bis
    94    		 95
    bis
    98    		 99
    bis
    102    		 103
    bis
    106    		 107
    bis
    109
  • Oberteile
    INT XS S M L XL XXL
    GER 44 46 48 50 52 54
    US 34 36 38 40 42 44
    UK 34 36 38 40 42 44
    ITA 44 46 48 50 52 54
    FRA 38 40 42 44 46 48
    JAP 1 2 3 4 5 6
    Chest 86-89 90-93 94-97 98-101 102-105 106-109
    Waist 73-76 77-80 81-84 85-88 89-92 93-96
    Hip 87-90 91-94 95-98 99-102 103-106 107-110

    Körpermaße in Zentimetern

  • Unterteile
    Inch Ger Ita Fra Int Waist Hip
    27 XS 73-74 87-88
    28 44 44 40 XS 75-76 89-90
    29 44/46 44/46 40/42 S 77-78 91-92
    30 46 46 42 S 79-80 93-94
    31 46/48 46/48 42/44 M 81-82 95-96
    32 48 48 44 M 83-84 97-98
    33 48/50 48/50 44/46 L 85-86 99-100
    34 50 50 44/46 L 87-88 101-102
    36 52 52 48 XL 89-90 103-104
    38 54 54 50 XL 91-92 105-106

    Körpermaße in Zentimetern

  • Länge
    CM 72 77 82 87 92
    INCH 28 30 32 34 36

    (Circa Werte)

Hard

A paper by Closed

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Meet the
makers

The denim:
an interview with Luca Grimi at Candiani

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

You need excellent denim in order to create excellent jeans – it’s as simple as that! We have been relying on Candiani’s high-quality denim for decades and almost every pair of Closed jeans has its origins in Candiani’s weaving mill in Robecchetto near Milan, where the world’s best cotton is transformed into yarn and woven into denim. Traditional craftsmanship and sustainable innovations – the Italian family business, founded in 1938, combines the best of both worlds. That is why Closed’s eco-denim line A BETTER BLUE was developed in close collaboration with Candiani.

To learn more about the process of making denim, we talked to Luca Grimi, the manager of Candiani’s weaving department..

Luca, how long have you been working with Candiani and what brought you to the company?

I have been living in the world of weaving since I was a child. My parents had a textile company when I was little – it fascinated me and I started exploring everything as soon as I could walk! I started working at Candiani in 1997 alongside my father who was director of the weaving and warping departments. One of the peculiarities of Candiani has always been that it gives the children of employees the opportunity to continue in their parents’ footsteps. Several of my colleagues in the weaving mill are children of my father’s co-workers. My sister, my brother and his wife also work in the company.

What is your job description and what are your daily tasks?

Since 2003, I have been the manager of the weaving department. With the help of my co-workers, I take 360-degree care of the department: from the programming to the maintenance of equipment and machines, to managing the department’s employees.

What is your favourite part of your job?

The reuse of traditional technologies or old machines has always fascinated me. Since 2009, we have been producing selvedge denim in our shuttle loom department. Candiani’s shuttle looms use 1950s technology throughout – we have not modified or updated any part of the mechanism, precisely to be able to create truly special fabrics that are in line with the tradition and character of original selvedge fabrics.

What makes Candiani’s denim special?

There are several factors that make Candiani’s denim so special. The first aspect has to be the utmost care we take at every stage, from research to design to manufacture, in order to obtain fabrics that are as sustainable as possible. Creating high-quality fabrics requires constant and continuous attention to every detail. When it comes down to technology, we also do things differently: In the weaving department, most of the fabric is produced on projectile looms, which are rarely used to produce denim. This peculiarity creates fabrics with a different look and feel compared to fabrics produced on looms with other insertion technologies. We have been collaborating with the company that produces our projectile looms since the 80s and develop or improve looms together accordingly to the requirements of our denim production.

What does “Made in Italy” mean to you?

To us at Candiani, “Made in Italy” means using all our experience and craftsmanship to make our products better and unique. This know-how, which is continuously growing, dates back to 1968, when my father was chosen by the Candiani family to carry out an instruction course for projectile machines in Switzerland. These notions have been passed on and are still used! Candiani’s denim therefore has a history that is updated and adapted every day to the needs of the economy without ever being distorted.

How denim is produced at Candiani, explained by Luca

Step 1

Luca: At Candiani we have four departments dedicated to denim production: the spinning department, the dyeing department, the weaving department and the finishing department. In the spinning department, everything starts in our cotton warehouse – that is where we source different fibres from different origins. The first step in the spinning process is to blend those fibres together, open them up and clean them.

Step 2

The next step is carding. We have to paralyze the fibres, align them and we bundle them in a big white spaghetti that we call a “sliver”.

Step 3

The sliver goes on into the drawing frame, that is where we even out the fibres in order to take advantage of the full length of the fibre. We repeat this step two times and end up at the rowing frame.

Step 4

At the rowing frame we add some torsion in order to get give the product the resistance to be able to spin it on the final ring frame, where we make the actual yarn.

Step 5

In the ring frame, we can decide on the aesthetics and the performance of the yarn.

Step 6

Once the yarn is spun, we go the dyeing department. We dye the yarn with a slasher dyeing technology. Once we have decided how many threads to put in the warp, which can be between 3,000 and 6,000 threads, we run them to the dyeing machine to the dyeing range, decide which colour we are going to dye, which can be 100% indigo, 100% sulphur, or it can be a sulphur bottom or sulphur top and indigo together.

Step 7

Once the yarns have been dyed, we take them to the weaving department, where the weft is woven.

Step 8

In this department we have to combine the warp and the weft together to create the fabric – either with shuttle looms or full-width looms.

Step 9

Once the fabric is finished, it ends up at quality control to make sure it is absolutely excellent. The first step of quality control is a visual inspection, the second step are lab tests, where we test factors such as the colour fastness and many other technical aspects of the fabric.

Step 10

Once the fabric has been tested and approved, it is ready to be shipped. We cut the fabric rolls into modules of 150 meters and get them ready to send them to the manufacturers.

The yarn:
an interview with Alessio Marini at Pecci

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

There is no winter season without knitted jumpers, cardigans and the like – and it all starts with soft wool yarns. Most of our high-quality yarns are spun in Italy, many of them in the traditional company Pecci Filati in Campi Bizensio, not far from Florence. Founded in 1884, Pecci Filati is one of the oldest yarn producers in the Prato region, which is known worldwide for traditional textile production. Using different raw materials – from alpaca wool to merino and cashmere – Pecci Filati creates yarns with different structures, always in particularly bright, rich colours. Every season, Pecci Filati’s experts come up with new finishes and colours. For the yarn we use for our knitwear, the skilled employees often develop individual compositions especially for us. Every type of yarn is refined bit by bit until it’s absolutely perfect.

Pecci Filati pays a lot of attention to sustainability. The company has many certifications (GOTS, Global Recycle Standard, Responsible Wool Standard, Responsible Alpaca Standard, etc.) and has for many years been committed to offering products that guarantee total traceability of the entire production process. This doesn’t only take into account animal welfare and the conservation of the land, but also using recycled materials and eliminating hazardous substances from the production cycle.

We talked about the process of creating high-quality yarns with Alessio Marini who joined the company in May 2021. He took the position of Pecci Filati’s previous technician Riccardo Coppini, who retired after more than 40 years with the company.

Alessio, what are your daily tasks?

I am in charge of creating the colour blends of our yarns – either for clients according to their individual colour reference or for our seasonal collections. To design a colour, I start by mixing combed slivers with a machine on a small scale. I use different colours in unique proportions to design every blend. To create a certain type of red or blue, all kinds of different colours are mixed. When the colour blend is final, I prepare a bigger batch, the actual blend, for the spinning mill. Should we not have the dyed raw material that’s needed for the blend, I arrange the colour to be dyed in our dyehouse. Once the spinning process is finished, I proceed with the final inspection to check for any colour or yarn discrepancies.

What is your favourite part of your job?

My favourite part of my job is to see how it’s possible to obtain yarns with special patterns and effects – all from simple bobbins of raw material that are transformed through dyeing and blending. I truly appreciate the result at the end of the process every time.

What is special about Pecci yarns?

What makes our yarns so unique is the accuracy and study of every little detail that our technicians put into them – starting with the research of the best raw material, moving on to the experimentation phase and finally the creation process of high-quality yarns in the brightest colours possible. With every new yarn we create, we are adding to Pecci’s rich history.

What is particularly important when it comes to producing bright, high-quality yarns?

The most important phase is the design and all the study that goes into it to obtain the required result of the composition of the article and the yarn count so as to achieve high quality and brilliance. This phase goes hand in hand with the raw materials used and the subsequent dyeing techniques.

Which types of cotton do you use?

We only use cotton of the highest quality for our garments – either conventional cotton, but also an increasing amount of organic or recycled cotton.

What do you like to do in your spare time?

I’ve been married for two years and became a father of a beautiful little girl a few months ago. I try to make the most of my spare time by spending it with my wife, dedicating it to raising our daughter as best I can. And sometimes I manage to carve out a couple of hours to go shoot a few hoops!

How yarn for our Closed knitwear is made, explained by Alessio

Step 1

Alessio: For every type of yarn we produce – from classic to fancy – we use specific techniques. So depending on the desired result, the techniques and machines to produce the yarn may vary. The first step is always the same: the production process begins with the purchase of wool – already washed and combed.

Step 2

If the yarn is a mélange yarn, we proceed with the dyeing of the combed slivers (so-called tops) in various colours, then moving on to the colour study according to the colour reference we received from the client.

Step 3

The blended yarn is then prepared and taken to production where the blending and combing of the various tops takes place, according to the type of fibre and colour. This process produces a ribbon with uniform composition and colour that is not yet twisted.

Step 4

The ribbons are transformed into yarn according to the required pattern.

Step 5

The yarn is now placed on spindles and undergoes a vaporisation process using steam, which gives the product dimensional stability and prevents it from losing its twist.

Step 6

After being steamed, the yarn is spooled in a machine that transfers the yarn from the spindles to cardboard cones. While it undergoes this process, the yarn passes through sensitive sensors. If they detect defects such as knots or a difference in count (thicker or finer section of yarn), these are eliminated.

Step 7

Depending on the quality, the yarn may undergo other processes such as twisting or brushing.

Step 8

Once this point is reached, we take a sample cone, knit a panel and carry out a quality check after which, if positive, the packaging process begins.

Step 9

If the yarn is plain dyed, the process undergoes variations, the raw material is mixed and combed; it is spun, steamed, twisted or brushed and then undergoes a process that serves to transfer the product into hanks that are subsequently dyed. Once dyed, the hanks undergo the coning process and are returned into packages. Once coned, the quality control of the finished product is the next step and after approval, packaging can proceed.

Step 10

The yarn is ready to be shipped to every corner of the earth to satisfy the needs and tastes of our customers from all over the world.

The T-shirt:
an interview with Patricia at Caifai

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

It’s all about the perfect essentials. To create the perfect T-shirts for every day, we have been trusting in the expertise of our jersey specialists Caifai for almost 15 years. The family business, located in the northern Portuguese town of Barcelos, was founded in 1987 by the married couple Conceição and David Simões. At Caifai, our designs are implemented with the help of state-of-the-art CAD/CAM software, which guarantees particularly precise planning and thereby keeps material waste to a minimum. Every finished garment undergoes a quality control check and is carefully ironed and packed by hand – so that it arrives at its destination in perfect condition. Caifai is a real family business. Two generations and their relatives are at the helm of the company today. In order to support the constantly growing business, the son of the founders, André Simões, even hung up his doctor’s coat and is now working in Caifai’s management.

We talked to staff member Patricia about working at Caifai – and she explains the process of producing a typical Closed T-shirt.

Patricia, what are your daily tasks?

I am a commercial manager at Caifai. My main tasks include organising our commercial department, supervising the team and communicating with our clients and suppliers. When clients visit our company, I have meetings with them to talk about upcoming productions, for example.

Which part of your job do you like best?

I love talking with the customers about their designs and making sure we produce everything exactly as they envisage it.

What is special about working at Caifai?

Caifai is a true family company, which is reflected in the atmosphere here.

What details are important to make a perfect T-shirt?

Every little detail is important. We can only produce a perfect T-shirt if we pay attention to all the details. It starts with the fabric selection, continues with the correct fabric finishing and of course the careful manufacturing process by our experts. After the production process, a close inspection of each item is super-important to make sure the quality is good. The last detail is the packaging of the product to ensure it arrives in perfect condition. We put love into what we do – that’s also important!

Which types of cotton do you use?

We only use cotton of the highest quality for our garments – either conventional cotton, but also an increasing amount of organic or recycled cotton.

How should people treat their cotton T-shirts for them to stay beautiful for as long as possible – do you have any tips or recommendations?

Fortunately, it’s easy to take care of T-shirts. The most important thing is to take heed of the instructions on the care label – don’t wash your T-shirts in temperatures that are any higher.

How a Closed T-shirt is made, explained by Patricia

Start

Patricia: The process starts when we receive the technical sheet from Closed with the design, specifications and measurement table. After carefully analysing the technical sheet, the first step is to make a prototype for every design.

The Prototype

Our Closed commercial manager Teresa orders the fabric from our suppliers. Our fabric control department tests the shrinkage level and torsion and gives this information to our pattern department, which in turn starts making the patterns for the T-shirt. After the pattern is made, it is sent digitally to our automated sampling cutting machine, which cuts the fabric into the different pieces that will make up the T-shirt. The pieces are collected and checked by our cutting department and sent to our sampling sewing department. There, the sewing thread colour is selected to match the T-shirt’s colour and the T-shirt is sewn together. We use different machines according to the different characteristics of the seams. We have specialised employees for each type of machine. After sewing the T-shirt, it is sent to our quality department where all excessive threads are removed and the T-shirt is inspected for even the smallest defects. After the quality department’s approval, the T-shirt is sent to our ironing department. Then it is carefully packed. We send the prototype to Closed for comments. After the necessary changes and approval of the prototype, we set about producing the collection.

The Collection

After the prototype is approved, we receive the colour codes that Closed would like to produce. We send the fabric to our dye house where we test different versions (lab dips) for each colour. The tests are sent to Closed for colour approval – once we have it, we dye the fabric in the desired colours. When we receive the dyed fabric, our fabric quality department tests all of the different fabric rolls. In case the T-shirt has embroideries or prints, we also test them and send them to Closed for approval. After that, we get started on the collection production, which follows the same procedures as those of the prototype. The main differences are that the collection is produced with the correct colours and that all the labels are sewn in the garments. After the collection is sent to Closed, we wait for the production confirmation.

The Production

Once we receive the production confirmation, all the procedures are repeated, but with the respective quantities that Closed has ordered. All these processes can vary depending on a lot of factors, including the fabric chosen, the trims, and whether a T-shirt has prints, embroideries or other special features. Usually the production phase takes around three months, while the whole process from receiving the technical sheet to production delivery can take around six months. The process involves many people from our company and our suppliers, all dedicated to provide Closed and Closed’s customers products in the highest possible quality – created in Portugal, with love.

The blazer:
an interview with Oana Ploscaru

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

Our blazers and jackets are made in Romania by the company Texdata in Focsani. Texdata is our specialist for ready-to-wear garments – from coats to skirts and pants – and we love their attention to detail and high level of innovation. Texdata uses the latest technology to create high-quality garments. The company – our partner for eleven years – has even developed its own ironing press for our Closed blazers and constantly comes up with new ideas and techniques for special workmanship, including the double-face we developed and perfected together. The company experimented for a long time and invested in new machines to make our vision of high-quality double-face garments possible. Although Texdata is very modern and innovative, the atmosphere feels like a big family. Many of Texdata’s 160 employees have been with the company for a long time – and several of them share their workplace with a spouse or relative.

We spoke to Oana Ploscaru, chief of technological processes and part of the Texdata team for seventeen years, about her work.

When did you start working at Texdata and what brought you to the company?

I joined Texdata seventeen years ago. I was recruited by the company back then to be involved in the development process of the samples. Then, Texdata was still a small company with few employees – but at the same time, one of the most innovative Romanian companies in the garment industry. I was attracted by the company’s young spirit, the owners’ mindset and the teamwork concept.

What is your job description at Texdata and what are your daily tasks?

I am now chief of technological processes. I am in charge of the technological processes for all garments in the production department, including the sewing operation flow, the evaluation of production times and the efficiency for each operation. To make sure that our technology is always state of the art, I research and study new developments. This way, I can update Texdata’s technologies when necessary in order to fulfil our clients’ requirements. I also do mock-ups for new technical requests as well as for production reference.

How would you describe your typical working day?

Every day is a challenge to balance customer requirements with Texdata’s possibilities – always in the spirit of our company’s values: flexibility, innovation, efficiency and high quality standards.

Which part of your job do you like best?

I really like to be part of new development requests, coming up with new techniques for special workmanship such as the double-face we developed together and perfected with Closed. We experimented with a lot of options until the result was impeccable. I also enjoy working with the team, exploring how we can improve our processes to be more efficient together.

What is special about working at Texdata?

The high level of challenge is special at Texdata – and the innovation spirit of the entire team, including management. Together we are a big family, trying hard to maintain our company values. I’m glad to have developed personally throughout the years, while the company was also evolving and growing.

How would you describe Focsani and the region?

Focsani is the main area of the garment industry in Romania with over 50 years of experience in this field. It is in the central-eastern part of Romania on the main road connecting the north and the south of the country with a beautiful mountain nearby. It is the capital of very well-known wine region.

What are your favourite spots in the area and the country?

I like having a walk in the new park close to the town. I love to go to the mountains, about 70 kilometres from Focsani, where our company has a small hotel. And I also like to relax and enjoy some time at the Vama Veche beach on the Black Sea during the summer holidays.

How a Closed blazer is made –

step by step

Step 1

Texdata receives sketches, technical descriptions and the respective fabric and trim options for each style from the Closed designers. After the pattern development by Texdata, a prototype sample is made for every style and sent to Closed. The Closed designers then send their comments for the production of the collection samples.

Step 2

The sample of the jacket is adjusted to accommodate Closed’s feedback. The production can start when the final sample is approved by Closed, all technical and technological points have been settled and the fabric and trims are at the factory.

Step 3

The first step is a quality control of the fabric to make sure it is excellent. This check is done on a special inspection machine.

Step 4

In the cutting room, the fabric is laid out flat by a spreading machine and then the fabric for the jacket is cut. The machine is programmed with the individual pattern and cuts the fabric parts automatically.

Step 5

The fabric parts are brought to the production area where they are sewn with a variety of special machines. The first step before sewing starts is to mark the positions of the pockets and labels.

Step 6

For double-face blazers, coats and jackets, the edges are finished with a special machine to create invisible seams.

Step 7

The next steps are made on a basic sewing machine: the sleeves are attached, the side seams and shoulder closures are sewn.

Step 8

The last step in the sewing line is to close the split layers of the fabric.

Step 9

The buttons and buttonholes are marked, then added in the next steps.

Step 10

The remaining thread ends from the production flow are trimmed by hand.

Step 11

In the finishing area, the garments are ironed and steamed until they look impeccable.

Step 12

The quality control team checks the garments thoroughly to ensure perfect workmanship and measurements. All checks are done in reference to Closed’s approved sample.

Step 13

The last steps in the process flow: the hangtags are attached and the finished garments are packed. The high-quality jackets are ready to be loaded on the truck and sent to the Closed warehouse. To make sure they arrive in perfect condition, the garments are shipped on hangers and racks.

The lambskin:
an interview with Elvira Fatjo

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

The La Doma tannery in Spain treats the high-quality lambskin for our shearling coats and jackets. Tanning is a traditional technique that requires a lot of knowledge – the more so when it comes to double-sided lambskin, La Doma’s speciality. The company has two divisions: the skins are prepared and tanned in Barbastro, then dyed and finished in Centelles near Barcelona.
Founded in 1985, La Doma has continually grown. The headquarters in Centelles grew, too, with the addition of several extensions, which explain the building’s unique character with many staircases and corridors that can feel like a labyrinth. Peter Colomer, who comes from a family of tanners, manages the company with 164 employees.
La Doma combines tradition and innovation: the tannery uses eco-friendly, water-saving techniques and has a repair shop to fix rather than replace machines. When La Doma has finished the skins, they are shipped to our shearling expert Otto in Turkey who creates our garments with them. By the way, all the lambskins La Doma processes are by-products of the food industry.

We talked to Elvira Fatjo, creative director and Peter’s wife, about her work. She joined La Doma 24 years ago.

How would you describe your tasks as a creative director of La Doma?

Elvira: I am in charge of the seasonal collections that we design twice a year to present new colours and finishes to our customers. All year around, my focus is on the dyeing process, where I check that the colours come out as desired. We develop and test our dyes with a team of chemists. It is the hardest part of our work because it depends on the individual lambskin how it is going to react to the dye – especially for double-sided shearling,
our speciality, as the fur side reacts differently from the leather side. I also check all incoming skins as well as our finished skins before they leave La Doma to make sure their quality is excellent. I am involved in almost every department, and when I arrive in the mornings, it often takes me quite some time to reach my desk – everybody has questions or wants to show me something. I really enjoy exchanging ideas with the team and learn something new every day!

Do you also have a background in chemistry?

No, I have a university degree in philosophy and used to be involved in editorial work, making books for children before I started at La Doma. It may seem different, but there are many similarities – it is about working with a team, making sure to get the colours and details right and creating a beautiful product together. The creative part is what I like most about my job now, although I also appreciate the structured parts of it.

La Doma only treats lambskin. What is it like to work with this material?

Each skin comes from an animal and it is very important to us to treat our material respectfully. We are very careful with it and only dye a few skins in a small drum at first to get the colour right before we continue with the big batch. Every skin is different because they all come from different animals. We always aim to make the outcome as similar as possible, but it is never 100 per cent the same. If the colour is not perfect, it is possible to re-dye skins from a light colour to a darker one, but not the other way around. We would never waste skins that turned out too dark, we put them in our stock instead. We also use remains for Christmas presents for our staff so they can have something beautiful made of the materials we all work with every day. Every year I come up with something new, such as slippers or pillows.

How do you put the collection of colours and finishings together every season?

I start with an idea that excites me – from art to music, architecture, history and society. I also look at trend books with new colours. Our last collection was influenced by protest art, which I think reflects society’s worries during the pandemic very well. I looked into artists from Goya to Banksy to come up with new colours. We then create swatches and put them in a lookbook, which was designed to reflect protest art. Depending on my inspiration, it could also have the shape of an architecture plan or a novel. We send our lookbooks to our customers to inspire them with our new colours and finishings.

What would you say is the most special thing about working at La Doma?

The people. Many of them have been with the company for decades and still get excited when we find a new finishing. We have around 160 team members who are between 20 and 60 years old. So many different perspectives! It was much more common to work in tanneries in Spain, but now only a few are left and the tradition could easily get lost. It is great to see our young people appreciating the natural material we work with. My husband and I enjoy sharing our knowledge with the younger generation and love to learn from them. With their help, we can innovate some of our processes and make them more sustainable.

How important is sustainability at La Doma?

There is no way around it. Even though we work in a very traditional profession, it can still go hand in hand with innovative sustainable technologies. One example is our modern drums that do not require water but natural gas. This new idea for a traditional process saves a lot of water. There is also something very sustainable about our material – it is so precious and long-lasting. A shearling jacket or a leather garment is usually something that is worn for many years and could easily be passed on to the next generation. It is not sustainable to create products that will only last a short time – and I think people are more in touch with this idea now.

The tanning and dyeing process –

step by step

Step 1

Elvira: The first steps are not completed here, but in our tanning division in Barbastro, three hours from here. The raw skins arrive there, mostly from sheep from the Spanish peninsula, but also from Greece, Italy or Iceland, and are cleaned, prepared and treated to make them durable. Depending on the origin, the skins are very different: Icelandic sheep have thicker wool, because it is colder there.

Step 2

Together with our customers like Closed, we select the skins, colours and finishes for their products. The customers either pick a colour from our seasonal collection or send us individual ones. Closed’s shearling coats and jackets are made by the factory Otto in Turkey – so we are also in touch with them to discuss details. When we start producing, Closed and Otto both receive one finished skin per desired style for approval.

Step 3

For every new colour, our chemists create a new recipe – every possible colour is created with blue, red and yellow. At first we conduct a colour test. Then we prepare the lot so it is ready for the tanning drums. The wool side is dyed first, the suede side follows. We have tanning drums in many sizes – they hold 5 to 1,000 skins. The drums run for between 25 and 36 hours and we need to add dyestuff at certain points during this time, always depending on the individual recipe. This is why we work in three shifts.

Step 4

We take the skins out of the drums to dry them – we have a hanging system all around the factory. It takes between 12 and 24 hours for them to air-dry.

Step 5

We check the dry skins to make sure the quality is excellent.

Step 6

In our finishing department, the skins’ surfaces are treated with different machines to make them soft again, as they are very hard after drying. The wool is shortened and ironed, while the suede side gets a coating finish (this affects the colour which needs to be taken into account when creating the recipe). Individual finishes are applied according to the customers’ wishes – for example, we cut the wool to a specific length or even put prints on the skins.

Step 7

We then perform final quality control. The skins are subsequently packed and shipped (in Closed’s case to Otto). Step 1 to 7 can take up to three weeks.

The shirt:
an interview with Filipe Martins

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

Most of our cotton shirts and blouses are made in Portugal, at the Mundicorte factory in São Martinho do Campo, 45 minutes from Porto. The motto of Agostinho Pereira and José Almeida who founded Mundicorte in the Eighties: “Profession and Passion”!
The company started as a small family business with the intention of creating high-quality men’s shirts. Gradually, Mundicorte grew bigger and bigger – and now, around 200 employees also produce women’s shirts and blouses, dresses, jumpsuits, trousers and Bermudas. Of course, everything is done with respect for the environment and the same high quality standards and artisanal processes as back in the company’s early days. Up to 800 garments are finished per day, often using Portuguese organic cotton qualities – from crisp poplin to sturdy Oxford fabrics.
Now in the second generation, Mundicorte is headed by Agostinho Pereira’s son Filipe Martins. Some of his cousins and an aunt also work in the company, his mother is now retired after many years at Mundicorte. It’s still a family business! And, related or not, many of the highly-skilled specialists have been with the company for decades, from apprenticeship to retirement. Oh, and chef Glória has been cooking for the team since 1987 – a healthy soup with fresh vegetables for lunch, every day.

We asked Filipe Martins a few questions – and he explains how a classic Closed shirt is made, step by step.

When did you start working at Mundicorte and what brought you to the company?

I started at Mundicorte 22 years ago after I had finished my management degree. It was my wish to continue the company created by my parents.

How would you describe your typical working day?

It is usually very intense – so many decisions every day! Our goal is that every step in the production runs perfectly smoothly to ensure that our finished products have a premium quality. Through the years I learned how everything works in our departments. By now I know every little detail – and that’s important when making decisions together with the responsible employees.

Which part of your job do you like best?

By working with products of exceptional quality, I end up learning something new every day – thanks to the ideas of our employees, the creativity of our customers and the input of our suppliers.

What is special about working at Mundicorte?

Although we work together professionally, it also feels quite informal at the same time. This creates an atmosphere of friendship and joy, combined with the family spirit that the company breathes.

What do you like about shirts and blouses in particular?

If they are made with the best quality materials and skills, shirts and blouses have the power to make people feel great when looking in the mirror.

How many shirts and blouses for Closed are finished at Mundicorte every day?

Our customers, such as Closed, demand the best possible quality. To make sure that every product turns out perfectly, we keep our production rather small: we have 200 employees and finish around 800 pieces per day.

What do you like to do in your free time?

I usually do a little physical activity to get rid of all the stress of everyday life. I love to take trips once in a while to relax and go out to eat, visiting the fantastic restaurants that Portugal has to offer.

How should people treat their cotton shirts so that they stay beautiful for as long as possible?

If possible, the best would be to wash by hand as it’s gentler – but of course everyone washes in the machine nowadays. I would always recommend a gentle program – and only 30 degrees. Always wash similar items and similar colours together.

How a Closed shirt is made –

step by step

Step 1

Filipe: Mundicorte receives the designs for new shirts from Closed, including the choices for fabrics, buttons, threads, etc. In exchange with the Closed designers, we create a sample for every shirt. The final samples are used in Closed’s showrooms for the sales campaigns. After that, regular production starts at Mundicorte. First, sewing patterns are drawn.

Step 2

Mundicorte receives the designs for new shirts from Closed, including the choices for fabrics, buttons, threads, etc. In exchange with the Closed designers, we create a sample for every shirt. The final samples are used in Closed’s showrooms for the sales campaigns. After that, regular production starts at Mundicorte. First, sewing patterns are drawn.

Step 3

We print the patterns on papers which will serve as the top layer when cutting the fabric.

Step 4

We take the skins out of the drums to dry them – we have a hanging system all around the factory. It takes between 12 and 24 hours for them to air-dry.

Step 5

After cutting, the different parts, e.g. fronts, backs and sleeves, are separated and sorted. We also cut the interface material which we use to reinforce the small parts, such as collars and cuffs.

Step 6

All parts go to the sewing machines – several ones are in use: with the run stitch machine, the Closed labels are attached, the back parts are sewn to the shoulder parts, and front edge are sewn. The cuffs, collars and plackets are also stitched with this machine and then sewn on the fronts and sleeves. We use a two-needle machine and chain bridge to join the back and front parts. The sleeves are attached with a chain bridge machine.

Step 7

After the parts are joined, an inspection is carried out to make sure that all the measurements are in accordance with the sample.

Step 8

Then the garment goes to the buttonhole sewing machine where the holes are slit and hemmed. The buttons are attached on the button sewing machine.

Step 9

We carry out a final inspection to make sure that there are no loose threads or sewing defects. If the shirt looks perfect, it is sent to the ironing department where we use an ironing machine.

The belt:
an interview with Enrico Castaldello

Interview by Giulia Stanzione, Text by Laura Reinke, Photography by Maximilian Attila Bartsch

For over thirty years, Cinturificio G. & G. has been our specialist for the finest-quality belts. The 7-person Italian belt maker is a real family company: alongside company founder Giulio Gastaldello, his wife Carla Gesuato and their children Alessandra and Enrico all work at Cinturificio G. & G. in Saletto di ­Vigodarzere near Padua. Each belt is made of fine Italian leather and is crafted almost entirely by hand – from cutting to punching and smoothing. Everyone at the factory shares an incredible love for detail and it shows in the beautiful, durable products they produce.

Enrico Gastaldello has a masterful command of most steps of the process and, unless he happens to be wearing sweatpants, he unfailingly wears a belt. We chatted to him and found out more about the art of making belts.

How do you like working for a small, family-run company?

Enrico: I really enjoy working here; in fact, I’ve never worked anywhere else. One of the big advantages is that I can plan my own working day. We don’t have fixed working hours, which can be good or bad. We work at the weekend or whenever we’re needed. Communication is different when you’re working with your family. With external staff you tend to pay attention to how you’re saying something. My family can sometimes be too direct. What I like best is that we all know each other so well. Our only “external” worker has been here as long as my father – she’s practically a member of the family.

Did you learn your craft at Cinturificio G. & G.?

I have been with the company for 13 years now and I learned my craft from my father and our long-standing employee Mirella. I’m still learning new things every day. In this profession you don’t need a university degree or special knowledge; what you need is an incredible amount of experience. Over the years, you learn to handle the materials, dyes and machines. And when it comes to the fashion aspect, it’s really very simple: style is omething you either have in your blood or not – it’s not something you can learn.

Which stage of production do you like best?

I enjoy the cutting phase most. Our cutting machine has a new technology I love working with. The AutoCAD program lets you create and cut any shape you want – curves, holes and everything else that makes up a belt. This process is also very helpful when you’re designing new belt prototypes, because we can work faster and therefore more cost-effectively than before.

You use vegetable-tanned leather – what makes it special?

Tanning is a process that stabilises the leather, but many conventional tanning agents are harmful for the environment. Vegetable-tanned leather is produced with natural tanning agents, mostly extracts from particular woods or nuts. These substances have no negative impact on the environment, and that makes vegetable-tanned leather much more sustainable.

How can you recognise a high-quality leather belt?

The paint on the edges of the belt should not crack or flake off. You might say that the true quality of a belt only becomes apparent after six months. The older the belt is, the more beautiful it should become. When worn, a high-quality belt becomes softer without losing its beauty. We produce belts that can last 30 years. Of course, they aren’t cheap . . . but high-quality material and good craftsmanship have their price. And by the way: it may sound strange, but I can actually smell the quality of a belt – good leather has a special smell.

What can I do to make my leather belt last and look beautiful for as long as possible?

A high-quality belt remains beautiful for a long time almost without you needing to do anything. I own belts that I have had since I was 16 – and they still look great. But you should avoid water, particularly salt water. Most leather belts are treated with oils, and water can damage this protective layer, meaning that the leather can dry out, crack or discolour.

Do you wear a belt every day?

Yes, always! Unless I happen to be wearing sweatpants. It really bugs me to see men walking around without a belt – there’s something unfinished about their look. For women, it bothers me most to see them wearing high-waisted trousers without a belt: I look at them and think, there’s something missing!

How a belt is made –

step by step

Step 1

Enrico: When making a classic belt, the starting point is always leather. Together with the Closed accessory designers, we regularly visit leather fairs. We order the selected leathers and they are sent directly to us. By the way, we only use Italian leather, often from Tuscany. The first production step in our factory is to cut the leather to the desired width of the belt using a belt-cutting machine. The measurements usually vary from 1 cm to 10 cm, depen­ding on the style.

Step 2

In the second step, the leather strips are cut into different lengths according to the belt sizes. At one end, we punch out the tip of the belt in the previously selected shape, at the other end we cut out the part that will later be used to attach the buckle. The holes are also punched.

Step 3

Now the edges of the belt are dyed. The aim: a smooth and even result – this requires a great deal of attention. We first apply a liquid to close the pores of the leather. As soon as this has dried, the edges are sanded. The sides of the material are lightly rubbed down. Then the first layer of dye is applied. When it has dried, the second layer follows. If the result is still not satisfactory, the edge is polished again, a third layer is applied. With light-coloured belts this is often necessary – light colours do not penetrate the leather quite as well.

Step 4

Next, we usually stamp the customer’s logo and “Made in Italy” on the inside of the belt.

Step 5

In the last step the belts are stitched. The buckle and the loop are fastened. Some belts have additional decorative seams that create a pattern. Depending on the many different designs we make, there can be variations and additional steps.

The button:
an interview with Andrea Norido

Interview by Giulia Stanzione, Text by Laura Reinke, Photography by Maximilian Attila Bartsch

Every pair of Closed jeans is 100% Made in Italy – and we mean it! Even the brass buttons and rivets for our jeans are crafted in Italy – in the Cobrax button factory in Padova, to be precise. While high-tech equipment and robots are also used, the 177 employees also complete many production steps by hand under high safety standards. They punch out the individual button components from brass strips, emboss our logo on them, polish and assemble them into a finished button. Most of the buttons are then coated or treated with chemical solutions to achieve specific colours. All brass scraps are collected, melted down and reused. Since 2008, Cobrax has been part of the Riri Group, a leading international manufacturer of zips, (press) buttons, rivets and metal components. We have been working with the company for more than 20 years now – and no Closed jeans would be truly complete without at least one of their beautiful buttons.

Andrea Norido joined Cobrax (then called Micron) in 1986. Back then, the company only had 14 employees. Andrea learned everything from scratch. Today, he manages the printing department – and loves the technical aspect of his job.

What brought you to the company in the 80s?

Andrea: A friend who worked at Cobrax told me about a vacant position. I was studying at the time, but had been looking for a job. Coming from a big family without an ideal financial situation, I knew it was better for me to start working right away. I am the oldest of five siblings and I felt responsible for my family. When I arrived at the company, I had no experience at all – I learned everything I know from scratch and have been with the company ever since.

How has the company changed in the past 35 years?

The company was called Micron when I started and we were a team of 14 people. In 1989, we became part of Cobra (the name changed to Cobrax later) and went from a small artisanal company to an industrial manufactory. Since 2008, we have been part of the Riri Group. Not only the size of the company and the number of employees changed in the last 35 years, but also the technology. The printing department, where I work, saw the biggest changes. The materials and techniques became much more innovative. We now use high-end printing methods. We still complete many of the production steps anually, but in 1986 there were no machines, no electronic devices. All of these changes have accelerated production times.

Do buttons still fascinate you after all this time?

Yes! It’s such a vast world. Before I started to work at Cobrax, I had no idea about the complexity of buttons and the amount of work that goes into them.

What do you like about buttons in particular?

The final result. To me, buttons are little pieces of jewellery. Every single one is beautiful. They are little pieces of art. Buttons fascinate me because I appreciate the research and work behind every single one of them.

How would you describe your working day?

Intense! It is never boring. I start every morning with a meeting with two colleagues who are heads of different departments. Every morning we receive our production schedule. We go through the list together, check orders and tasks, and organise the day by defining priorities and schedule everything. We also manage our team and colleagues, for example, by planning shifts (we have two daily shifts) and finding solutions for issues that come up. Every day can be full of surprises – and that makes my job very exciting!

How many buttons do you finish every day?

It’s all teamwork – we constantly work together and that is why we work so well. The numbers vary, but we finish about 25 orders per day. Every order includes the production of caps (the top part of the button with the brand’s logo) and under parts (the hidden part). In January and February 2021, we produced 35 million pieces (both caps and under parts). Incredible, isn’t it?!

Which part of your job do you like best?

I love the technical aspect – the machines and the complexity behind them. I also love the responsibility that I carry as a department manager and the organisational aspect of my work. I am very happy that I can be a point of reference for my colleagues and that they regard me as an expert. However, you know, that comes with age!

What about your free time?

I love swimming, but unfortunately, because of Covid the swimming pools are all closed. I miss it so much! Water is my element and I feel the best when I am swimming. Before lockdown I was in good shape – I swam 60 lengths in 45 minutes – that’s not bad! Until I can swim again, I keep fit with long walks and bike rides … but I can’t wait to be back in the water!

How a button is made –

step by step

Step 1

Andrea: We put in a moulding command into our moulding machine – it includes the diameter of the button, the brand name to be embossed on it, the date and other specifications. The command ensures that all components of the buttons are finished around the same time to ensure a seamless production. For every Closed button, five parts are required: nail, cap, shank, inside core and another cap.

Step 2

One of our operators prepares the equipment for the moulding of the buttons according to the processing note, which includes all relevant specifications for each client.

Step 3

The operator moves on to the press machine. Brass is used for all the buttons. The machines cut the brass into strips first, then the buttons components are cut. Only a few pieces are pressed at first. These samples are subjected to quality control and then, if they comply with the client’s specifications and our high quality standards, we proceed with the moulding of the buttons.

Step 4

The moulding of the pieces with the machine starts. While the buttons are moulded, the results are constantly controlled by one of our inspectors who uses magnifying glasses for this step.

Step 5

After the moulding is completed, the components of the buttons are subject to another quality control. The inspector also makes sure that the number of components is exactly right for the subsequent production phases.

Step 6

The components are de-oiled in centrifuges and transferred to the next department.

Step 7

The button components are washed with special washing machines to get rid of any production residues. After that, the pieces are smoothened.

Step 8

A galvanic treatment follows if the buttons are to be a different colour than the natural brass. The chemical reaction changes the colour of the material.

Step 9

The different components are finally assembled – the button comes together!

Step 10

After a final quality control the finished buttons are packed and shipped.

The bag:
an interview with Carla Roque

Interview and text by Laura Reinke, Photography by Maximilian Attila Bartsch

Our leather bags are made in Portugal, exclusively by our long-standing production partner, Daro’s. The family business with 187 employees has been manufacturing our bags and leather acces sories since 2013. The company’s headquarters in São Pedro da Cova near Porto may look futuristic, but everything here is about traditional craftsmanship: many steps of the production process are done by hand. Daro’s uses vegetable tanned leather – which means it has been treated using low-impact processes that are gentler on the precious material and on the environ ment. The results are long-lasting, high-quality bags that become even more beautiful with time.
The company was founded in 1972. Shortly after the birth of her daughter Carla, Celeste Oliveira Soares set up her own leather goods business. Her husband David Roque joined in 1981 (Daro’s is a play on the letters of both names). Carla manages the company today, while her brother Paulo is in charge of material purchasing and finances. The third generation, granddaughter Ines, also started at the company a while ago.

We spoke to Carla, who joined her parents’ company 32 years ago, to tell us about a typical day at Daro’s – and to show us how a Closed leather bag is made step by step.

What are your daily tasks?

Carla: I am in charge of the commercial department. As I have been at Daro’s for so many years, I have gained experience in every step of making a bag, from start to finish. You could say I am in every department of the company a little bit, wherever I am needed. My daily tasks include running the commercial department to make sure I have a very good overview of the orders and production process. Every day, I solve many, many challenges that we face, for example, with the leather that arrives from the tanneries. I have to make sure that we receive leather of the highest possible quality for our bags and it’s not always easy to work with
tanneries.

How would you describe your typical working day?

Busy, busy but very fulfilling!

Which part of your job do you like best?

I enjoy the creative process the most – and seeing how a sketch turns into a beautiful bag is my favourite part. It still fascinates me after all these years how much handwork is involved.

What is special about working at Daro’s?

I think the family atmosphere amongst all the staff is very special. Also, the people who work here are really special and hard to find, because this kind of work demands a lot of skilled handwork.

How many leather bags are finished at Daro’s every day?

It depends on the style, but we can finish up around 150 leather bags per day. Many steps of the production are completed by hand so our daily quantities are not on an industrial scale.

How would you describe São Pedro da Cova?

São Pedro da Cova is a typical small village in the surroundings of the bigger city Porto. You have the feeling you know all the people and all the people know you. If you like nature then São Pedro da Cova is a great place for you!

How a bag is made –

step by step

Step 1

Carla: It all starts with a design specification by Closed. We have a very close collaboration with the accessory designers and always exchange lots of ideas to create the best possible product together. At first, we select the leather and colour we would like to use for the bag. We mostly use cowhide and all the leather we use is vegetable tanned. We have to make sure that the respective skin is big enough for the design to avoid seams. As you can imagine, one skin is never like the other, so it is a challenge to find not only the right leather but also the right skin in terms of the size.

Step 2

We then choose all the small components for the bag that will be needed in addition to the leather, for example clasps and zips, mostly made of metal. They need to be high-quality and made to last, and, of course, they have to visually harmonise with the leather.

Step 3

When we have picked all the parts, we start to work on the pattern of the bag. In this stage, we develop the final shape of the bag using three-dimensional card patterns. This helps us to check if the dimensions are right and we can try alternatives without having to waste leather.

Step 4

When we have a final pattern, the next step is to cut the leather for the parts of the bag. For newly developed bags, the leather is cut by hand to create the first leather samples. (The samples are used by Closed to present the new bag styles to customers during the order campaign.) When the bags go into regular production later on, the leather is cut on a cutting machine. Either way, we try to cut the leather in the most efficient way to avoid waste.

Step 5

The next step is flattening the leather parts so that they have an even thickness. The edges of the leather pieces are flattened a little bit more for the seams.

Step 6

The raw edges of the leather parts that will be on the inside of the bag are painted by hand.

Step 7

The Closed logo is embossed on the bag.

Step 8

In the next department, the bag is assembled. The trims (buttons, zips, straps, etc.) are placed, the interlining and lining are attached and the individual parts are sewn together. Most of the work is done by hand.

Step 9

The bag is lined with twill fabric, sometimes including a zip pocket on the inside, and the last seams are sewn.

Step 10

Now, the raw edges of the visible parts of the bag are painted by hand. After the first layer of paint has dried, the process is repeated several times to make sure the colour is opaque. When the last layer of paint has dried, the edges are polished by hand.

Step 11

The last step is the inspection line, where every bag is controlled to check every small detail, before they are carefully packed and shipped to Closed.

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