昔の生地はワタを糸にする時に、一定の太さに保つ事が難しかった。
だから結果的にどうしてもムラ糸と呼ばれる形になり、色落ち時にムラ形状を拾い色落ちの仕方に影響します。
ただ、私たちが最近思うのはムラ糸の太い所や糸の平均的な太さが果たして一つの数字で納まりきってるのか？という話。
要は経糸には７番のムラ糸を使用。と私たちも謳いますがVintageを見た時に測る糸が変われば毎回分析結果が違うんじゃない？と思います。
もちろんアベレージを出して作り始める方法も有りますが私たちが出した答えは今回も経糸で２種類を混ぜて作るという方法。
当時の糸が頑張って紡いだ糸の太さが、今の基準で計測すると２番手に仕分けする事になった。
という設定です。

記憶に新しい前回作った1890年代の生地は最高級ラインではなくNo2だったので、より糸質が悪かったであろうという仮説と貸して頂いたVIntageを研究機関に見せて4種類の生地を混ぜました。
今回はそこまで混ぜる必要は無いと思いましたが80年前の混沌とした時代の生地。
綿はテキサスで摘まれたコットン。
経糸には7.5番の弱いけど長いムラの糸と6.5番の短いけど強いムラを混ぜて織って貰う事にしました。
横には縦に対して半分位のムラの６番手の糸を作って貰いました。

Back in the days, it was difficult to keep the thickness of threads consistent.
As a result, it ended up becoming what is now called uneven yarn and when the color fades, the uneven shape, I mean the thick part, is more prone to being rubbed and affects the way the color fades.
However, what we have been thinking lately is whether the thickness of the uneven yarn or the average thickness of the yarn can be described in one number?
In short, we use uneven yarn No. 7 for the warp. We advertise this but when you look at the vintage jeans and its yarns, if the yarn you measure changes, the analysis results will be different each time. That’s the wide range of unevenness back then.

Of course, there is a way to start by taking an average but the answer we came up with this time was to mix two types of warps in one fabric like we did for our No.2 fabric.
The thickness of the yarn that was spun with great effort at that time was classified as 2 different yarns when measured by today’s standards.

The fabric from the 1890s that we reproduced last time, which is still fresh in our memory, was the one of the No.2 jeans, not the highest quality line for Levis, so we hypothesized that the yarn quality would have been worse and asked some help with a fabric research institute, ending up mixing four types of yarns in one fabric.

I didn’t think there was a need to mix them so much this time, but the fabric is still from a chaotic time 80 years ago.The quality must have been The cotton was picked in Texas.
For the warp threads, I decided to have them woven by mixing a weak but long uneven thread count 7.5 with a short but strong uneven thread count 6.5.
For the width, I had them make a thread count 6 with unevenness about half that of the length.