Product Introspection: Limonta Nylon





There is a city located in the proximity of where the European Alps begin. Como, located in the north of Italy is home to a textile manufacturing company that weaves some of the most beautiful fabrics in the world.

Packed inside a massive warehouse with high ceilings are rows of racks that stand so tall they seem to almost touch the roof. This storage facility stores all the fabrics that have been produced here since the 1860's. Every piece of fabric has been archived and stored in 1 meter pieces. They are carefully managed and tagged with a serial number. Several thousand Jacquard patterns can be found. Even the original sketches that inspired those fabrics have been carefully preserved here.

This vast archive is truly an unbelievable collection making the place seem like a museum for fabric.

The fabrics woven on wooden looms over 100 years ago have a rich feel where each piece is unique and possess a warmth to it thanks to the subtle touch of each individual craftsman. It is impossible to recreate this feeling with modern day machinery.
A craftsman from today shared their thoughts though by saying, "It is not our intention to recreate fabrics that were hand woven from 100 years ago, but rather to take the newest machinery and technology to create new fabric that feel no less than what the craftsman from 100 years before was making."

Hiroki Nakamura

left: 0115205013006 VALDEZ DOWN JKT, center: 0115205013007 SANJURO KIMONO DOWN JKT, right: 0115205013027 THORSON JKT

Developer Interview

Developed for visvim, there are two main technical detail highlights for Naycer Light and Naycer Ultralight IRRDY.

Basically, the research for developing these new materials was inspired by Hiroki's particular interest towards a traditional satin-weave nylon textile we created; Naycer, which revisits the elegant mood of '90s couture evening shoes and handbags, but updated for modern casual fashion. Our goal and focus was to achieve a fabric that could be powerful in colors, similar to original silk yet simpler for use with everyday products. This led us to intentionally making the surface of the satin looked used and aged naturally, almost like a dancer's pretty shoes had she worn them daily for training routine.

Hiroki had asked us to make a lighter version of the fabric, with the possibility to be overdyed in order to increase an unevenness effect for his garment designs. After discussing with my team, we identified a lighter yarn could be used in the weft of the satin; and in order to create a duller color effect, we would use an irregular gluing treatment of the nylon to vary the water absorption capacity of the yarns during the dyeing process. The machines involved are normally used to make flocked yarn, however we were instead using them to apply the glue treatment at a variable speed - (this was a really crazy process!).

Our dyeing team was then instructed to use a specific ink originally for raw silk purposely without any adjustment-balancing solutions, whilst the yarn was free to move and ply on the machine. This operation produced different dyed strengths of color; each and every meter of fabric unique in its own.

In my opinion it is obvious that this process could only be used by a designer with specific vision and ability. Today the majority of the garment industry could not possibly use such an irregular product for their design, given their obsession to control every detail of the manufacturing process; using robots instead of human intelligence.

Celestino (Limonta: visvim's fabric development supervisor)

left: 0115205013006 VALDEZ DOWN JKT, center: 0115205013007 SANJURO KIMONO DOWN JKT, right: 0115205013027 THORSON JKT

left: 0115205013006 VALDEZ DOWN JKT, center: 0115205013007 SANJURO KIMONO DOWN JKT, right: 0115205013027 THORSON JKT