ステュディオ・ダ・ルチザン 奄美大島泥染GL3デニムジャケット D4631 (ブラウン) 15oz. 天然染めGL-3デニム メンズ Gジャン型 ジャケット ステュディオ・ダルチザン Studio D'artisan 新品
Sale price
76,780円 / JPY
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ステュディオ・ダ・ルチザン 奄美大島泥染GL3デニムジャケット D4631 (ブラウン) 15oz. 天然染めGL-3デニム メンズ Gジャン型 ジャケット ステュディオ・ダルチザン Studio D'artisan 新品
Studio D'artisan / ステュディオ・ダ・ルチザン
色展開はこちらです
サイズ実寸
シルエットは、胸まわりと胴まわりにややゆとりを持たせ、肩幅は大きく落とさず、着丈を短めに設定したクラシックなワークジャケットスタイルです。身頃は胸まわりから裾にかけて直線的に構成されており、身体に沿う細身のシルエットではありません。一方で、肩まわりが大きく落ちるような現代的なオーバーサイズではなく、ヴィンテージのワークジャケットらしい実用的なゆとりを備えています。裾は腰まわりで収まるバランスです。袖は標準的な長さに設定され、肩線から自然につながるセットインスリーブ仕様です。
身幅：衣服を平らに置き、脇から約3cm下の位置で、端から端までの幅を測定しています。
着丈：背中側の衿付け根部分(身頃と衿の縫い目)から、裾先までの長さを測定しています。
裄丈：背中の衿付け根中央部分から、袖口先端までを測定しています。
袖丈(括弧内に記載している袖丈)：肩の縫い目上部から、袖口先端までの長さを測定しています。
肩幅: 肩の縫い目から縫い目までを直線で測定しています。
サイズ計測方法はこちらです
※若干の誤差はご了承ください。
品番
D4631 ( D-4631 )
素材
綿100% 15オンス デニム
状態・生産国
新品です Made in Japan 日本製
商品説明
STUDIO D'ARTISAN(ステュディオ・ダルチザン)の奄美大島泥染GL3デニムジャケット(メンズ Gジャン型 ジージャンタイプワークジャケット)です。
この製品は、旧式力織機GL3で織り上げたステュディオ・ダ・ルチザンオリジナルのデニムを使用して、日本の伝統的な染色技法である「奄美大島泥染」によってアーストーン調のブラウンカラーに染め上げられたジャケットです。クラシックなワークスタイルデザインに奄美泥染の色合いを融合させ、日常使いに適した実用性と、現代的なファッション性を兼ね備えた、街着として洗練された一着に仕上げられています。裏地の付いていない単衣ものライトアウターで、春先から秋口まで軽く羽織れ、年間を通して、幅広く着用できるアイテムです。
シルエットは、胸まわりと胴まわりにややゆとりを持たせ、肩幅は大きく落とさず、着丈を短めに設定したクラシックなワークジャケットスタイルです。身頃は胸まわりから裾にかけて直線的に構成されており、身体に沿う細身のシルエットではありません。一方で、肩まわりが大きく落ちるような現代的なオーバーサイズではなく、ヴィンテージのワークジャケットらしい実用的なゆとりを備えています。裾は腰まわりで収まるバランスです。袖は標準的な長さに設定され、肩線から自然につながるセットインスリーブ仕様です。
素材は豊田自動織機のGL3で織り上げられたコットン100%の15オンスデニムです。豊田自動織機のGL-3は、日本における最初期の力織機のひとつです。現在は交換部品が製造されていないため、メンテナンスの際には廃棄された同型機から部品を取り出して流用するしかなく、その維持には大変な労力を要します。さらに、生産効率も非常に低く、1時間にわずか5メートルしか織ることができません。しかし、このGL-3で織り上げられたデニムには、半世紀前のデニムが持つ無骨さや荒々しさが宿り、現代の高速織機では再現できない風合いが表れます。糸本来の質感を活かした独特のネップ感やザラつき、凹凸のある表情は、この織機ならではの魅力です。本製品には、GL-3の特性を最大限に引き出すため、糸の凹凸形状や番手、縦横の打ち込み本数に至るまで、ステュディオ・ダ・ルチザン独自のレシピで設計されたオリジナルデニムを採用しています。時間と手間を惜しまず織り上げられたこのデニムは、効率性を追求した現代の均一で滑らかな生地では得られない、唯一無二の質感を実現しています。
このモデルには、経糸・緯糸ともに生成りの糸で織り上げられたGL3デニムが使用され、その後、日本の伝統的な染色技法「奄美泥染」で染め上げられています。奄美泥染は、日本南部の奄美大島に古くから伝わる染色方法です。奄美原産の植物であるテーチ木(車輪梅＝しゃりんばい)から抽出した染液に何度も浸し、さらに鉄分を多く含む奄美の泥に漬け込む工程を繰り返すことで、色を定着させていきます。化学染料を一切使わず、島の自然素材だけで染め上げられるこの技法は、深みのある土のような独特の色合いを生み出します。その色合いは現代の合成染料では再現できない繊細さと力強さを併せ持ち、奄美の豊かな自然と受け継がれてきた伝統が息づいています。
製品にはワンウォッシュ加工が施されています。生地を一度洗うことで初期収縮をある程度落ち着かせ、未洗いデニムに比べて着始めから体になじみやすい風合いに整えられています。着用と洗濯を重ねることで、縫い目、プリーツ、ポケット、袖口などにアタリや色の濃淡が生まれ、着用者の動作や使用環境に応じた経年変化を楽しめます。
襟は、台襟を設けないシャツカラー仕様です。台襟を介さず、襟本体をネックラインへ直接縫い付けることで襟腰を低く抑えています。台襟付きの襟に比べて返りが平面的で、ワークジャケットらしい簡潔な首まわりを形成しています。
フロントは、5個のボタンを使用したボタンフロント仕様です。ボタンは前立て上に配置され、ボタンホールは水平方向に設けられています。前立ては生地を折り返した二重構造で形成されており、開閉部の強度を高めるとともに、長期着用による伸びや型崩れを抑える役割を持たせています。
左右の前身頃(フロントヨーク下からウエストバンドまでフロント開閉部に沿って)には、それぞれ2列ずつ、合計4列の縦方向のフロントプリーツが設けられています。各プリーツは身頃の生地を内側へ折り込み、3か所でステッチで固定する構造です。伸縮性の少ないデニム生地に折り込み分を持たせることで、ボタンを閉めた状態で腕を動かしたり胸を反らしたりする際にプリーツがわずかに開き、胸まわりの運動量を補います。通常の姿勢では折り込まれた状態に戻るため、身頃表面に過度な膨らみを生じさせず、ワークジャケット特有の縦方向を強調したフロントデザインを形成します。
ポケットはジャケットの下部に左右1つずつ配置されており、フラップのないクラシックなデザインです。さらに、パッチポケットの上部角にはリベットが打ち込まれ、補強が施されています。
袖は、身頃と袖を肩線で接合するセットインスリーブ仕様です。袖口はシングルボタンで留めるカフス構造で、袖口の開き部分にはカフスリットが設けられています。カフスリットの開き止まりには補強用リベットを打ち込み、着脱時に負荷が集中しやすい箇所の裂けや損耗を抑えています。
フロントボタン・袖口ボタンにはStudio D'artisanブランドロゴ刻印入りのブラックコーティングメタルボタンが使用されています。
背面上部は、肩の左右を横方向につなぐストレートヨークで切り替えられています。ヨーク下から裾のウエストバンド上までの背身頃は、中央に接ぎ目を設けた2枚裁ちで構成されています。背面のヨーク下両側とウエストバンド上両側とには縦方向のアクションプリーツが配されています。腕を前方へ伸ばしたり持ち上げたりした際にプリーツが開くことで、背中から肩まわりに必要な運動量を確保し、肩線や背ヨークへ集中する負荷を軽減します。
背面裾付近には、裾まわりのフィット感を調整する金属バックル付きのシンチバックストラップが備えられています。ストラップを締めることで背面裾の分量を調整でき、シンチバックの両端はリベットで身頃へ固定されています。※シンチバックの金属バックルや露出したリベットが、車のシート、ソファ、椅子、塗装された家具などの表面に接触すると、擦れや傷が生じる場合があります。着用時や着座時には十分にご注意ください。
内側首元にはStudio D'artisanのレザーパッチが配されています。デニム同様に経年変化を楽しめる革パッチです。
クラシックなワークジャケットのデザインを踏襲しながら、ステュディオ・ダ・ルチザン独自のGL3デニムの質感と伝統的染色の色合いを融合させ、ステュディオ・ダ・ルチザン独自の解釈を反映させたモディファイドモデルに仕上げられています。
※この商品には天然染料が使用され、織物表面の余分な染料がこすれ落ちやすい傾向にあります。そのため着古すまでは、濃いものと着合せたり、単独での洗濯をおこなってください。お洗濯の際は以下の事にご注意下さい。移染いたしますので他の物と分けて下さい。漂白剤、乾燥機、お湯の使用はお避け下さい。湿った状態で他の物と重ねても移染する可能性があります。汗や摩擦等で他の衣類や小物等に移染する場合もあります。長時間、水につけたまま、濡れたままにしておくと、染料がしみ出す事がございます。ご注意下さい。
「SDA D4631 Studio D'Artisan Amami Dorozome Mud-Dyed Denim Jacket, woven on the early Japanese power loom, the Toyoda Automatic Loom GL3 - short-length jacket with a classic workwear look / ステュディオ・ダ・ルチザン ステュディオ・ダルチザン ステュディオダルチザン ダルチザン 奄美大島泥染GL3デニムジャケット 天然染めデニムワークジャケット 15オンス デニム ブラウンデニムトラッカージャケット メンズ カジュアル ファッション アメカジ Gジャン ジージャン ワンウォッシュ 日本製」です。
洗濯表記
液温は40℃を限度とし、洗濯機で弱い洗濯ができます。
塩素系及び酸素系漂白剤の使用禁止。
底面温度を中温として、あて布の上から、アイロン仕上げができます。
ドライクリーニング禁止。
染料の性質上色落ちしますので他のものと一緒に洗わないでください。
生地の性質上多少縮むことがあります。
汗や雨などで湿った状態、および摩擦によって色移りすることがあります。
ご確認事項
*在庫は実店舗と共有しているため、ネット上の在庫表示にリアルタイムで反映されない場合がございます。
*ご注文をいただいた場合でも、タイミングにより売り切れとなっていることがございます。何卒ご理解・ご了承くださいますようお願い申し上げます。
*すべての寸法は、商品を平置きした状態で、メジャーを使用して手作業で計測しております。
*商品には個体差があるため、また計測方法により、若干の誤差が生じる場合がございます。
*実際の色味は、撮影時の照明環境やご使用のモニター・画面設定により、写真と多少異なって見える場合がございます。
Product Description in English.
Studio D'Artisan Men's Amami Dorozome Mud-Dyed Denim Jacket, 15 oz. Brown Denim Woven on a Vintage Toyoda GL-3 Loom, Made in Japan (SDA D4631, Dark Brown)
Studio D'artisan
Available Colors
This men's brown denim jacket is made in Japan by Studio D'Artisan (SDA) and combines a classic workwear-inspired design with two distinctive Japanese production methods. The 15 oz. denim is woven from undyed ecru warp and weft yarns on a vintage GL-3 loom manufactured by Toyoda Automatic Loom Works, now known as Toyota Industries Corporation. After the jacket is cut and sewn, the finished garment is dyed on Amami Oshima using the traditional Amami Dorozome mud-dyeing process. It is repeatedly immersed in a botanical dye extracted primarily from the local Techi tree (Rhaphiolepis indica var. umbellata, also known in Japanese as Sharinbai), then immersed in iron-rich mud to deepen and fix the color. This process produces an earthy brown tone with subtle variations from piece to piece. The finished jacket combines the irregular surface character of GL-3-woven denim with the natural depth of color created by traditional Amami mud dyeing, while retaining the practical construction and everyday wearability of a classic work jacket.
Size and Fit Guide:
Gender: Men.
The jacket is cut with a modest amount of room through the chest and torso, while the shoulders remain close to their natural position rather than extending into a dropped-shoulder shape. The body falls almost straight from the chest to the hem without pronounced waist shaping, creating a classic work jacket silhouette that is not close-fitting. At the same time, it is not an exaggerated modern oversized fit. The body length is intentionally short and finishes around the waist, reflecting the proportions of vintage work jackets. The set-in sleeves are designed with a standard length and follow naturally from the shoulder seams.
Our model is wearing a tagged size 36. He is 5'9" (175 cm) tall, weighs 127 lbs (58 kg), and has a chest size of 36 inches (91 cm). He normally wears a US/EU S or 36.
Because fit may vary depending on body type, preferred layering, and personal preference, please use the actual garment measurements below as your primary reference. For the most accurate comparison, we recommend measuring a similar denim jacket that fits you well.
The following measurements show the garment itself, not your body measurements.
Please compare them with a similar jacket from your wardrobe to get a better sense of the fit.
In inches
Tagged Size 36
Width: 20.9" / Length: 22.8"
Sleeve: 31.5" (23.2") / Shoulder: 16.5"
Tagged Size 38
Width: 21.7" / Length: 23.6"
Sleeve: 32.7" (24.0") / Shoulder: 17.3"
Tagged Size 40
Width: 22.4" / Length: 24.4"
Sleeve: 33.9" (24.8") / Shoulder: 18.1"
Tagged Size 42
Width: 23.6" / Length: 25.2"
Sleeve: 34.3" (24.8") / Shoulder: 18.9"
Tagged Size 44
Width: 24.8" / Length: 25.6"
Sleeve: 35.0" (25.2") / Shoulder: 19.7"
In centimeters
Tagged Size 36
Width: 53cm / Length: 58cm
Sleeve: 80cm (59cm) / Shoulder: 42cm
Tagged Size 38
Width: 55cm / Length: 60cm
Sleeve: 83cm (61cm) / Shoulder: 44cm
Tagged Size 40
Width: 57cm / Length: 62cm
Sleeve: 86cm (63cm) / Shoulder: 46cm
Tagged Size 42
Width: 60cm / Length: 64cm
Sleeve: 87cm (63cm) / Shoulder: 48cm
Tagged Size 44
Width: 63cm / Length: 65cm
Sleeve: 89cm (64cm) / Shoulder: 50cm
[How We Measure the Actual Garment]
Width (Chest Width / Half Chest): Lay the garment flat and measure straight across from side to side, approximately 3 cm (about 1.2 in.) below the armholes.
Length (Body Length): Measured from the base of the back collar, where the collar meets the body, straight down to the bottom hem.
Sleeve (Sleeve Length from Center Back): The first sleeve measurement is taken from the center back at the base of the collar seam, across the shoulder, and down to the end of the cuff.
Sleeve in Parentheses (Sleeve Length from Shoulder Seam): The sleeve measurement shown in parentheses is taken from the top of the shoulder seam to the end of the cuff.
Shoulder (Shoulder Width): Measured straight across the back from the outer edge of one shoulder seam to the outer edge of the other.
Made in Japan.
Brand new with tags, in unused condition.
*All measurements are taken by hand with the garment laid flat, using a measuring tape.
*Please note that slight variations in measurements may occur due to individual garment differences and the measuring method.
*Actual color may vary slightly from the photos due to lighting conditions and individual screen settings.
Overall Product Character
This men's brown denim jacket is made in Japan by Studio D'Artisan and combines the construction of a classic early work jacket with two distinctive Japanese production techniques: low-speed denim weaving on a Toyoda GL-3 power loom and traditional Amami Dorozome mud dyeing. The jacket is constructed from substantial 15 oz. cotton denim woven from undyed ecru warp and weft yarns. After construction, the garment is dyed to create its earthy brown color.
The design is characterized by a short body length, vertically arranged front pleats, lower patch pockets, action pleats across the back, and an adjustable cinch-back strap. These functional details are derived from early workwear construction, but Studio D'Artisan has modified the overall balance and fabric specification to create a jacket suitable for contemporary casual wear.
This is an unlined, single-layer jacket. It can be worn as a light outer layer during spring and fall, over a T-shirt or lightweight shirt in milder weather, or as an intermediate layer under a heavier coat during colder seasons.
Silhouette and Fit
The jacket has a classic work-jacket silhouette with moderate room through the chest and torso, a relatively short body length, and a straight shape from the chest to the hem. It is not cut closely to follow the contours of the body, but it is also not designed with the substantially dropped shoulders or exaggerated proportions associated with modern oversized clothing.
The shoulder width is kept relatively natural, allowing the set-in sleeves to follow the wearer's shoulder line without creating excessive volume. The chest and body provide practical ease of movement, while the short length allows the hem to sit around the waist or upper hip area, depending on the wearer's height and body proportions.
The sleeves are designed with a standard length and a conventional set-in construction. The overall fit reflects the proportions of a vintage work jacket, providing enough room for layering while maintaining a controlled and balanced appearance.
15 oz. GL-3 Loom-Woven Denim
The jacket is made from 15 oz. denim woven from 100% cotton yarn on a Toyoda GL-3 power loom. The GL-3 was one of the earliest power looms developed in Japan and represents an important stage in the development of the Japanese textile industry.
Unlike modern high-speed weaving equipment, the GL-3 operates at an extremely low production rate. It is capable of weaving only approximately five meters of fabric per hour. This slow weaving speed allows the yarns to retain more of their natural irregularity and prevents the fabric from becoming excessively compressed or mechanically uniform.
Replacement components for the GL-3 are no longer commercially produced. Maintaining an operational loom may require usable parts to be recovered from other retired GL-3 machines. The limited availability of replacement parts, specialized mechanical adjustment, and low production efficiency make the continued use of this loom exceptionally labor-intensive.
The resulting denim has a firm, substantial hand with visible surface irregularity. Natural yarn thickness variation produces small neps, raised fibers, and uneven areas across the fabric. These characteristics are not manufacturing defects. They are inherent features of denim produced on early low-speed weaving equipment.
Studio D'Artisan Original Denim Specification
The denim was developed according to Studio D'Artisan's original fabric specification. The yarn count, yarn irregularity, warp and weft density, and weaving tension were selected to emphasize the distinctive characteristics of the GL-3 loom.
Both the warp and weft yarns are initially undyed ecru cotton. This differs from conventional blue denim, which is normally woven with indigo-dyed warp yarns and undyed weft yarns. By beginning with an entirely ecru denim base, the finished fabric can absorb the Amami Dorozome dye across both sets of yarns, producing a brown color that extends throughout the structure of the cloth.
The combination of irregular yarns, low-speed weaving, and substantial 15 oz. weight gives the fabric a pronounced three-dimensional surface. The cloth is not uniformly smooth. Instead, it contains subtle changes in yarn thickness, tension, and elevation that become more visible as the jacket is worn and washed.
Amami Dorozome Mud-Dyeing Process
The jacket is dyed using Amami Dorozome, a traditional dyeing technique practiced on Amami Oshima, an island in southern Japan. The process uses dye extracted from the locally grown Techi tree, also known as Sharinbai in Japanese. Its botanical classification is Rhaphiolepis indica var. umbellata.
The wood and bark of the Techi tree contain natural tannins. These materials are processed to create a botanical dye bath, and the garment is repeatedly immersed in the solution so that the tannins can penetrate the cotton fibers. The garment is then treated with the iron-rich mud found on Amami Oshima.
The iron in the mud reacts with the tannins absorbed into the fabric. This natural chemical reaction darkens the material and helps fix the color within the cotton fibers. Repeated botanical-dye and mud-treatment cycles gradually build the final earthy brown tone.
Because the coloration is created through repeated interaction between plant-derived tannins, iron-rich mud, water, cotton yarn, and manual processing, the resulting shade is not mechanically uniform. Minor variations in depth, surface tone, and color concentration may occur between individual garments and between different areas of the same garment. These variations are characteristic of the traditional dyeing method.
The finished color has a natural soil-like depth that differs from the flatter and more uniform appearance commonly produced by conventional synthetic dyes. The brown tone also emphasizes the neps, raised fibers, and irregular texture of the GL-3-woven denim.
One-Wash Finish
The finished jacket has been washed once before sale. This one-wash treatment removes a portion of the initial shrinkage and softens the rigid feel of newly woven denim, allowing the jacket to feel more comfortable and easier to wear from the beginning.
Although the one-wash process stabilizes the fabric to a certain degree, minor additional shrinkage or dimensional change may still occur depending on water temperature, washing method, drying conditions, and frequency of laundering. Cold water and natural air drying are recommended to reduce unnecessary shrinkage and color loss.
Wear and Color Development
The mud-dyed surface will gradually change through repeated wear, friction, movement, and washing. Areas exposed to frequent contact, including the seams, front pleats, pocket openings, cuffs, elbows, collar edges, and waistband, may develop lighter tones and more pronounced surface contrast.
The raised portions of the irregular denim surface will generally receive more abrasion than the recessed areas. This difference in friction can emphasize the fabric's uneven texture over time. The resulting color variation will depend on how the jacket is worn, how frequently it is washed, and the conditions in which it is used.
Because natural dyeing does not produce the same perfectly uniform and highly colorfast surface as some modern synthetic dye systems, gradual color transfer and fading should be regarded as inherent characteristics of the garment.
Collar Construction
The jacket has a simple shirt-style collar without a separate collar stand. The collar is attached directly to the neckline rather than being mounted on a raised band.
This construction keeps the collar base relatively low and creates a flatter roll than a collar with a separate stand. The result is a compact neckline that is consistent with the direct and functional construction of early work jackets.
Five-Button Front Closure
The front closes with five metal buttons positioned vertically along the front opening. The buttonholes are sewn horizontally, a traditional orientation that helps the button remain seated against lateral pulling forces generated when the wearer moves the arms or expands the chest.
The front placket is formed by folding the denim back on itself to create a double-layer structure. This reinforces the button and buttonhole area, helps control stretching along the front opening, and provides additional resistance to distortion during repeated fastening and unfastening.
Vertical Front Pleats
Four vertical front pleats are incorporated into the front body, with two pleats positioned on each side of the front opening. The pleats run parallel to the button placket, extending from below the front yoke to the upper edge of the waistband.
Each pleat is formed by folding a section of the front-body fabric inward and securing the fold at three separate points with horizontal rows of stitching. This construction retains a controlled amount of additional fabric within each front panel.
When the wearer reaches forward, raises the arms, or expands the chest, the folded sections can open slightly to provide additional ease across the chest and front body. This helps compensate for the limited stretch of the substantial 15 oz. denim and reduces pulling around the button placket, armholes, and upper front panels.
When the wearer returns to a neutral position, the pleats settle back into their folded configuration. This allows the front body to maintain a relatively flat and controlled appearance without the permanent fullness that would result from a wider body pattern.
In addition to their functional purpose, the four pleats create pronounced vertical lines extending along both sides of the front opening. This construction emphasizes the elongated panel structure and distinctive appearance associated with early work-jacket design.
Lower Patch Pockets
Two patch pockets are positioned on the lower front body, one on each side. The pockets have an open-top design without flaps, providing direct access while maintaining a simple and functional appearance.
The upper corners of each pocket are reinforced with metal rivets. These locations receive concentrated stress when the wearer inserts a hand or carries an object inside the pocket. The rivets help distribute this load and reduce the possibility of the pocket corners separating from the body fabric.
The pockets are constructed from the same 15 oz. mud-dyed denim as the main body. As the jacket is worn, the pocket edges and riveted corners may develop visible abrasion and color contrast.
Set-In Sleeve Construction
The sleeves are attached to the body with conventional set-in armholes. Unlike a dropped-shoulder or raglan construction, the sleeve seam is positioned close to the natural shoulder point.
This construction gives the shoulder area a controlled shape and allows the sleeve to extend naturally from the upper body. It also helps preserve the structured appearance associated with classic work jackets.
Button Cuffs and Riveted Cuff Slits
Each sleeve is finished with a single-button cuff. A cuff slit is positioned above the cuff opening to provide enough space for the hand to pass through the sleeve and to allow the cuff to open during dressing.
A reinforcing metal rivet is installed at the upper end of each cuff slit. This point is exposed to repeated pulling and concentrated stress when the cuff is opened, closed, or pulled over the hand. The rivet helps reduce the risk of the slit extending or tearing into the sleeve fabric.
Black-Coated Metal Buttons
The front and cuff buttons are made from metal and finished with a black coating. Each button is stamped with the Studio D'Artisan brand logo.
The dark hardware coordinates with the earthy brown denim while maintaining a restrained industrial appearance. With extended wear, friction may gradually alter the surface of the black coating, particularly along raised edges and areas that frequently contact the buttonholes.
Straight Back Yoke
The upper back is divided by a straight horizontal yoke extending across the shoulders. This yoke supports the upper portion of the jacket and provides a stable structural transition between the shoulder area and the lower back panels.
Below the yoke, the back body is constructed from two panels joined by a vertical center seam. The center seam helps shape and stabilize the wide back area while maintaining the symmetrical appearance of the jacket.
Rear Action Pleats
Vertical action pleats are positioned on both sides of the back body. The pleats extend from below the back yoke toward the waistband area.
When the wearer reaches forward, lifts the arms, or moves the shoulders, these pleats can open to release additional fabric across the upper back. This increases mobility through the shoulder blades and reduces the amount of pulling transferred directly to the armholes, shoulder seams, and back yoke.
When the arms return to a neutral position, the pleats fold back toward the body. This allows the jacket to provide additional movement without requiring a permanently wide or oversized back silhouette.
Adjustable Cinch-Back Strap
An adjustable cinch-back strap is positioned near the lower back. The two ends of the strap are secured to the body with metal rivets, and the strap passes through a metal buckle.
Tightening the buckle draws in a portion of the fabric at the rear waistband, allowing the wearer to make a limited adjustment to the circumference and shape of the lower back. Loosening the strap restores more room through the hem.
The cinch-back is both a functional adjustment device and a characteristic detail associated with early workwear construction.
Please note that the exposed buckle and rivets may scratch or abrade surfaces such as automobile seats, leather or fabric sofas, chairs, painted furniture, and other finished materials. Care should be taken when sitting or leaning against delicate surfaces.
Leather Brand Patch
A Studio D'Artisan leather brand patch is attached inside the jacket at the back of the neck. The leather will gradually soften and change in tone with exposure to movement, moisture, body heat, and repeated wear.
Natural differences in grain, color, and surface texture may be visible in the leather. These characteristics are inherent to the material rather than defects.
Modified Vintage Work-Jacket Design
The jacket incorporates recognizable elements of early work-jacket construction, including a short body, low collar, vertical front pleats, riveted patch pockets, set-in sleeves, cuff slits, rear action pleats, a center-seamed back, and an adjustable cinch-back.
Rather than serving as a direct reproduction of one specific historical garment, this model combines these traditional construction details with Studio D'Artisan's proprietary GL-3 denim specification and the natural coloration of Amami Dorozome mud dyeing.
The result is a modified work-jacket design that retains the practical structure of vintage clothing while presenting a distinctive brown color and fabric texture developed through specialized Japanese weaving and dyeing processes.
Natural-Dye Color Transfer
This garment is colored with natural dye, and excess pigment remaining on or near the surface may transfer through friction. Until the initial excess color has gradually been reduced through wear and washing, the jacket should be kept away from light-colored clothing, bags, upholstery, footwear, and other items that may easily absorb pigment.
Color transfer may occur when the jacket is dry, but the risk increases when the fabric is damp from rain, perspiration, washing, or high humidity. Friction at the cuffs, underarms, waistband, collar, and areas that contact bags or seats may also cause pigment to transfer.
Do not place the wet or damp garment directly against other clothing or household surfaces. Do not leave the jacket soaking in water or folded while wet, as dissolved dye may migrate and create uneven staining.
Washing and Care Precautions
Wash this jacket separately from other garments. Use cold water and a mild detergent. Do not use chlorine bleach, oxygen bleach, hot water, or a tumble dryer.
After washing, remove the jacket promptly, reshape it carefully, and allow it to air-dry in the shade. Avoid leaving the garment wet for an extended period. Prolonged soaking or contact with other wet materials may cause dye to bleed or transfer.
Because of the natural dyeing process, some color loss is expected during washing. Variations in fading and surface color are part of the intended character of the garment.
Made in Japan
The jacket is made in Japan using Studio D'Artisan's original 15 oz. GL-3 loom-woven cotton denim and finished with traditional Amami Dorozome mud dyeing. Its fabric, construction, hardware, and functional details combine Japanese textile production with the practical design principles of classic workwear.
Toyoda GL-3 Power Loom
An Early Japanese Power Loom
The GL-3 is an early Japanese shuttle-type power loom manufactured by Toyoda Automatic Loom Works, now known as Toyota Industries Corporation. It was developed before the widespread adoption of modern high-speed textile machinery and reflects an earlier stage of Japanese weaving technology.
Only a limited number of GL-3 looms remain in operation today. Their rarity, low production capacity, and distinctive weaving characteristics have made them highly valued for producing specialized fabrics with pronounced surface variation.
Difficult to Maintain
Replacement parts for the GL-3 are no longer commercially manufactured. When a component becomes worn or damaged, usable parts may need to be recovered from another retired or non-operational GL-3 loom.
Keeping the machine in working condition requires experienced technicians who understand its mechanical timing, shuttle movement, yarn tension, take-up system, and other operating characteristics.
Small changes in alignment or mechanical adjustment can affect both the stability of the weaving process and the appearance of the finished fabric. Regular inspection, careful adjustment, and continued maintenance are therefore essential.
Extremely Slow Weaving Speed
A GL-3 can weave only approximately five meters of fabric per hour. This is considerably slower than contemporary high-speed looms designed for large-scale industrial production.
From a manufacturing perspective, the GL-3 is highly inefficient. It requires more time, closer supervision, and greater mechanical attention to produce a relatively small quantity of fabric.
However, the slow operating speed allows the yarns to be woven without creating the highly compressed, smooth, and mechanically uniform surface commonly associated with modern mass-produced textiles.
Why the GL-3 Is Called a "Phantom Loom"
The GL-3 is sometimes referred to as a "phantom loom" because very few operational machines remain, replacement parts are difficult to obtain, and the technical knowledge required to maintain them is increasingly specialized.
The term also refers to the distinctive fabric character produced by the machine. Depending on the yarn and weaving specification, the GL-3 can produce visible neps, slubs, uneven elevations, and subtle variations in surface density that are difficult to reproduce with modern high-speed equipment.
These characteristics are not manufacturing defects. They result from the combination of irregular yarns, low-speed weaving, carefully controlled tension, and the mechanical properties of the older loom.
Fabric Characteristics Produced by the GL-3
Fabric woven on the GL-3 typically has a substantial hand and a visibly irregular surface. Differences in yarn thickness, tension, and placement create raised and recessed areas throughout the cloth.
Small neps, slubs, loose surface fibers, and variations in texture may be visible. Neps are small groups of entangled fibers, while slubs are thicker sections formed within intentionally irregular yarns.
Rather than appearing perfectly flat and uniform, the surface contains subtle variations that become more noticeable under changing light and through continued use.
The exact appearance and hand of the fabric depend on the yarn count, yarn irregularity, warp density, weft density, weaving tension, and other production specifications selected for each fabric.
Craftsmanship Rather Than Production Efficiency
Producing fabric on the GL-3 requires substantially more time and manual involvement than weaving on modern industrial machinery.
The loom must be carefully maintained, weaving conditions must be monitored, and mechanical adjustments may be required during production. The objective is not maximum output or complete visual uniformity, but the creation of fabric with controlled irregularity and distinctive surface character.
Each length of fabric reflects the interaction between the loom, the yarn specification, the mechanical settings, and the judgment of the loom operator.
The GL-3 therefore represents a production method that prioritizes fabric character, technical skill, and careful small-scale manufacturing over speed and efficiency.
Handling Amami Dorozome Mud-Dyed Products
Traditional Amami Dorozome Dyeing
Amami Dorozome is a traditional mud-dyeing method practiced on Amami Oshima in southern Japan.
The process uses a botanical dye extracted from the Techi tree, also known in Japanese as Sharinbai. The wood and bark contain natural tannins that can bond with textile fibers and react with iron.
The material is repeatedly immersed in the plant-based dye solution so that the tannins penetrate the fibers. It is then treated with iron-rich mud from Amami Oshima.
The iron in the mud reacts with the tannins and gradually deepens and fixes the color. Multiple dyeing and mud-treatment cycles are required to build the characteristic earthy tone.
Natural Color Variation
Amami Dorozome does not produce the mechanically uniform appearance associated with conventional synthetic dyeing.
Minor differences in color depth, concentration, and surface tone may occur between individual products. Subtle variations may also be visible within different areas of the same product.
Seams, folds, reinforced areas, and sections containing multiple layers of fabric may absorb or retain the dye differently from single-layer areas.
These variations are inherent characteristics of the traditional dyeing process and should not be regarded as defects.
Color Transfer Through Friction
Natural dye remaining on or near the surface may transfer to other materials through friction.
Particular care should be taken when a mud-dyed product comes into contact with white or light-colored clothing, bags, shoes, furniture, automobile seats, upholstery, or other finished surfaces.
Areas exposed to repeated rubbing may release color more readily. Color transfer is often more noticeable during the early period of use, although it may continue depending on moisture, friction, and washing conditions.
Color Transfer When Wet or Damp
Moisture can increase the possibility of dye transfer. Perspiration, rain, washing water, humidity, or other sources of moisture may cause the surface dye to become more mobile.
When the product is damp, avoid direct contact with light-colored clothing, bags, furniture, car seats, and other materials that may absorb the dye.
Do not leave the wet product folded, compressed, or placed against another item for an extended period. Prolonged contact while wet may result in color transfer, uneven staining, or migration of dye between different sections.
Washing Instructions
Wash mud-dyed products separately from other items because released dye may transfer during washing.
When appropriate for the product, turn it inside out before washing. This reduces direct abrasion against the dyed outer surface and may help limit unnecessary surface color loss.
Use cold or lukewarm water, a mild detergent, and a gentle washing method. Avoid excessive mechanical agitation, scrubbing, brushing, or concentrated rubbing.
Do not use chlorine bleach or oxygen bleach. Avoid hot water and tumble drying unless specifically permitted by the care label attached to the product.
After washing, remove the product promptly, reshape it carefully, and allow it to air-dry naturally in the shade. Do not leave it soaking or wet for an extended period.
Always follow the specific care instructions provided on the product label.
Drying and Sunlight Precautions
When appropriate, turn the product inside out before drying and place it in a well-ventilated shaded area.
Avoid prolonged exposure to direct sunlight. Strong ultraviolet light may cause natural dyes to fade, discolor, or change unevenly, particularly when the product remains exposed in the same position for an extended period.
Direct sunlight should not be used intentionally to darken or develop the color, as it may instead cause unwanted or uneven fading.
Natural Aging and Color Development
The color and surface appearance of Amami Dorozome products will gradually change through use, friction, washing, moisture, and exposure to air.
Areas that receive frequent contact may become lighter, while recessed or less exposed areas may retain a darker tone. The resulting appearance will vary according to how the product is used, cleaned, dried, and stored.
No two naturally dyed products will develop in exactly the same manner.
Characteristics of Natural Dye
Color fading, surface variation, and occasional color transfer are inherent characteristics of Amami Dorozome and other natural dyeing methods.
These properties differ from the high degree of color uniformity and colorfastness commonly associated with modern synthetic dyes.
Careful handling can reduce unwanted transfer and uneven fading, but it cannot completely prevent the natural color from changing over time.
Please handle Amami Dorozome products with appropriate care and enjoy the individual color development and surface character created through continued use.
Care Instructions
Machine wash on a gentle cycle at a maximum water temperature of 40°C (104°F).
Do not use chlorine bleach or oxygen bleach.
Iron at a medium temperature with a pressing cloth placed between the iron and the garment.
Do not dry clean.
Due to the nature of the dye, color loss may occur. Wash separately from other garments.
Due to the characteristics of the fabric, slight shrinkage may occur after washing.
Color may transfer to other clothing, accessories, upholstery, or other surfaces through friction or when the garment is damp from perspiration, rain, or other moisture.
Important Notes
*Our online inventory is shared with our physical retail store. As a result, changes in store inventory may not always be reflected immediately on the website.
*Even after an order has been placed, an item may occasionally be sold out due to the timing of simultaneous purchases. We sincerely appreciate your understanding.
*All measurements are taken manually with the garment laid flat and measured using a tape measure.
*Because individual garments may vary slightly and measurement methods can differ, minor measurement discrepancies may occur.
*The actual color of the product may appear slightly different from the photographs depending on the lighting conditions during photography and the settings of your monitor or display.
Studio D'artisan / ステュディオ・ダ・ルチザン
色展開はこちらです
サイズ実寸
| サイズ実寸 | 身幅 | 着丈 | 裄丈 (袖丈) | 肩幅 |
| 36(メンズSサイズ) | 53cm | 58cm | 80cm (59cm) | 42cm |
| 38(メンズMサイズ) | 55cm | 60cm | 83cm (61cm) | 44cm |
| 40(メンズLサイズ) | 57cm | 62cm | 86cm (63cm) | 46cm |
| 42(メンズXLサイズ) | 60cm | 64cm | 87cm (63cm) | 48cm |
| 44(メンズXXLサイズ) | 63cm | 65cm | 89cm (64cm) | 50cm |
シルエットは、胸まわりと胴まわりにややゆとりを持たせ、肩幅は大きく落とさず、着丈を短めに設定したクラシックなワークジャケットスタイルです。身頃は胸まわりから裾にかけて直線的に構成されており、身体に沿う細身のシルエットではありません。一方で、肩まわりが大きく落ちるような現代的なオーバーサイズではなく、ヴィンテージのワークジャケットらしい実用的なゆとりを備えています。裾は腰まわりで収まるバランスです。袖は標準的な長さに設定され、肩線から自然につながるセットインスリーブ仕様です。
身幅：衣服を平らに置き、脇から約3cm下の位置で、端から端までの幅を測定しています。
着丈：背中側の衿付け根部分(身頃と衿の縫い目)から、裾先までの長さを測定しています。
裄丈：背中の衿付け根中央部分から、袖口先端までを測定しています。
袖丈(括弧内に記載している袖丈)：肩の縫い目上部から、袖口先端までの長さを測定しています。
肩幅: 肩の縫い目から縫い目までを直線で測定しています。
サイズ計測方法はこちらです
※若干の誤差はご了承ください。
品番
D4631 ( D-4631 )
素材
綿100% 15オンス デニム
状態・生産国
新品です Made in Japan 日本製
商品説明
STUDIO D'ARTISAN(ステュディオ・ダルチザン)の奄美大島泥染GL3デニムジャケット(メンズ Gジャン型 ジージャンタイプワークジャケット)です。
この製品は、旧式力織機GL3で織り上げたステュディオ・ダ・ルチザンオリジナルのデニムを使用して、日本の伝統的な染色技法である「奄美大島泥染」によってアーストーン調のブラウンカラーに染め上げられたジャケットです。クラシックなワークスタイルデザインに奄美泥染の色合いを融合させ、日常使いに適した実用性と、現代的なファッション性を兼ね備えた、街着として洗練された一着に仕上げられています。裏地の付いていない単衣ものライトアウターで、春先から秋口まで軽く羽織れ、年間を通して、幅広く着用できるアイテムです。
シルエットは、胸まわりと胴まわりにややゆとりを持たせ、肩幅は大きく落とさず、着丈を短めに設定したクラシックなワークジャケットスタイルです。身頃は胸まわりから裾にかけて直線的に構成されており、身体に沿う細身のシルエットではありません。一方で、肩まわりが大きく落ちるような現代的なオーバーサイズではなく、ヴィンテージのワークジャケットらしい実用的なゆとりを備えています。裾は腰まわりで収まるバランスです。袖は標準的な長さに設定され、肩線から自然につながるセットインスリーブ仕様です。
素材は豊田自動織機のGL3で織り上げられたコットン100%の15オンスデニムです。豊田自動織機のGL-3は、日本における最初期の力織機のひとつです。現在は交換部品が製造されていないため、メンテナンスの際には廃棄された同型機から部品を取り出して流用するしかなく、その維持には大変な労力を要します。さらに、生産効率も非常に低く、1時間にわずか5メートルしか織ることができません。しかし、このGL-3で織り上げられたデニムには、半世紀前のデニムが持つ無骨さや荒々しさが宿り、現代の高速織機では再現できない風合いが表れます。糸本来の質感を活かした独特のネップ感やザラつき、凹凸のある表情は、この織機ならではの魅力です。本製品には、GL-3の特性を最大限に引き出すため、糸の凹凸形状や番手、縦横の打ち込み本数に至るまで、ステュディオ・ダ・ルチザン独自のレシピで設計されたオリジナルデニムを採用しています。時間と手間を惜しまず織り上げられたこのデニムは、効率性を追求した現代の均一で滑らかな生地では得られない、唯一無二の質感を実現しています。
このモデルには、経糸・緯糸ともに生成りの糸で織り上げられたGL3デニムが使用され、その後、日本の伝統的な染色技法「奄美泥染」で染め上げられています。奄美泥染は、日本南部の奄美大島に古くから伝わる染色方法です。奄美原産の植物であるテーチ木(車輪梅＝しゃりんばい)から抽出した染液に何度も浸し、さらに鉄分を多く含む奄美の泥に漬け込む工程を繰り返すことで、色を定着させていきます。化学染料を一切使わず、島の自然素材だけで染め上げられるこの技法は、深みのある土のような独特の色合いを生み出します。その色合いは現代の合成染料では再現できない繊細さと力強さを併せ持ち、奄美の豊かな自然と受け継がれてきた伝統が息づいています。
製品にはワンウォッシュ加工が施されています。生地を一度洗うことで初期収縮をある程度落ち着かせ、未洗いデニムに比べて着始めから体になじみやすい風合いに整えられています。着用と洗濯を重ねることで、縫い目、プリーツ、ポケット、袖口などにアタリや色の濃淡が生まれ、着用者の動作や使用環境に応じた経年変化を楽しめます。
襟は、台襟を設けないシャツカラー仕様です。台襟を介さず、襟本体をネックラインへ直接縫い付けることで襟腰を低く抑えています。台襟付きの襟に比べて返りが平面的で、ワークジャケットらしい簡潔な首まわりを形成しています。
フロントは、5個のボタンを使用したボタンフロント仕様です。ボタンは前立て上に配置され、ボタンホールは水平方向に設けられています。前立ては生地を折り返した二重構造で形成されており、開閉部の強度を高めるとともに、長期着用による伸びや型崩れを抑える役割を持たせています。
左右の前身頃(フロントヨーク下からウエストバンドまでフロント開閉部に沿って)には、それぞれ2列ずつ、合計4列の縦方向のフロントプリーツが設けられています。各プリーツは身頃の生地を内側へ折り込み、3か所でステッチで固定する構造です。伸縮性の少ないデニム生地に折り込み分を持たせることで、ボタンを閉めた状態で腕を動かしたり胸を反らしたりする際にプリーツがわずかに開き、胸まわりの運動量を補います。通常の姿勢では折り込まれた状態に戻るため、身頃表面に過度な膨らみを生じさせず、ワークジャケット特有の縦方向を強調したフロントデザインを形成します。
ポケットはジャケットの下部に左右1つずつ配置されており、フラップのないクラシックなデザインです。さらに、パッチポケットの上部角にはリベットが打ち込まれ、補強が施されています。
袖は、身頃と袖を肩線で接合するセットインスリーブ仕様です。袖口はシングルボタンで留めるカフス構造で、袖口の開き部分にはカフスリットが設けられています。カフスリットの開き止まりには補強用リベットを打ち込み、着脱時に負荷が集中しやすい箇所の裂けや損耗を抑えています。
フロントボタン・袖口ボタンにはStudio D'artisanブランドロゴ刻印入りのブラックコーティングメタルボタンが使用されています。
背面上部は、肩の左右を横方向につなぐストレートヨークで切り替えられています。ヨーク下から裾のウエストバンド上までの背身頃は、中央に接ぎ目を設けた2枚裁ちで構成されています。背面のヨーク下両側とウエストバンド上両側とには縦方向のアクションプリーツが配されています。腕を前方へ伸ばしたり持ち上げたりした際にプリーツが開くことで、背中から肩まわりに必要な運動量を確保し、肩線や背ヨークへ集中する負荷を軽減します。
背面裾付近には、裾まわりのフィット感を調整する金属バックル付きのシンチバックストラップが備えられています。ストラップを締めることで背面裾の分量を調整でき、シンチバックの両端はリベットで身頃へ固定されています。※シンチバックの金属バックルや露出したリベットが、車のシート、ソファ、椅子、塗装された家具などの表面に接触すると、擦れや傷が生じる場合があります。着用時や着座時には十分にご注意ください。
内側首元にはStudio D'artisanのレザーパッチが配されています。デニム同様に経年変化を楽しめる革パッチです。
クラシックなワークジャケットのデザインを踏襲しながら、ステュディオ・ダ・ルチザン独自のGL3デニムの質感と伝統的染色の色合いを融合させ、ステュディオ・ダ・ルチザン独自の解釈を反映させたモディファイドモデルに仕上げられています。
※この商品には天然染料が使用され、織物表面の余分な染料がこすれ落ちやすい傾向にあります。そのため着古すまでは、濃いものと着合せたり、単独での洗濯をおこなってください。お洗濯の際は以下の事にご注意下さい。移染いたしますので他の物と分けて下さい。漂白剤、乾燥機、お湯の使用はお避け下さい。湿った状態で他の物と重ねても移染する可能性があります。汗や摩擦等で他の衣類や小物等に移染する場合もあります。長時間、水につけたまま、濡れたままにしておくと、染料がしみ出す事がございます。ご注意下さい。
「SDA D4631 Studio D'Artisan Amami Dorozome Mud-Dyed Denim Jacket, woven on the early Japanese power loom, the Toyoda Automatic Loom GL3 - short-length jacket with a classic workwear look / ステュディオ・ダ・ルチザン ステュディオ・ダルチザン ステュディオダルチザン ダルチザン 奄美大島泥染GL3デニムジャケット 天然染めデニムワークジャケット 15オンス デニム ブラウンデニムトラッカージャケット メンズ カジュアル ファッション アメカジ Gジャン ジージャン ワンウォッシュ 日本製」です。
洗濯表記
液温は40℃を限度とし、洗濯機で弱い洗濯ができます。
塩素系及び酸素系漂白剤の使用禁止。
底面温度を中温として、あて布の上から、アイロン仕上げができます。
ドライクリーニング禁止。
染料の性質上色落ちしますので他のものと一緒に洗わないでください。
生地の性質上多少縮むことがあります。
汗や雨などで湿った状態、および摩擦によって色移りすることがあります。
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Product Description in English.
Studio D'Artisan Men's Amami Dorozome Mud-Dyed Denim Jacket, 15 oz. Brown Denim Woven on a Vintage Toyoda GL-3 Loom, Made in Japan (SDA D4631, Dark Brown)
Studio D'artisan
Available Colors
This men's brown denim jacket is made in Japan by Studio D'Artisan (SDA) and combines a classic workwear-inspired design with two distinctive Japanese production methods. The 15 oz. denim is woven from undyed ecru warp and weft yarns on a vintage GL-3 loom manufactured by Toyoda Automatic Loom Works, now known as Toyota Industries Corporation. After the jacket is cut and sewn, the finished garment is dyed on Amami Oshima using the traditional Amami Dorozome mud-dyeing process. It is repeatedly immersed in a botanical dye extracted primarily from the local Techi tree (Rhaphiolepis indica var. umbellata, also known in Japanese as Sharinbai), then immersed in iron-rich mud to deepen and fix the color. This process produces an earthy brown tone with subtle variations from piece to piece. The finished jacket combines the irregular surface character of GL-3-woven denim with the natural depth of color created by traditional Amami mud dyeing, while retaining the practical construction and everyday wearability of a classic work jacket.
Size and Fit Guide:
Gender: Men.
The jacket is cut with a modest amount of room through the chest and torso, while the shoulders remain close to their natural position rather than extending into a dropped-shoulder shape. The body falls almost straight from the chest to the hem without pronounced waist shaping, creating a classic work jacket silhouette that is not close-fitting. At the same time, it is not an exaggerated modern oversized fit. The body length is intentionally short and finishes around the waist, reflecting the proportions of vintage work jackets. The set-in sleeves are designed with a standard length and follow naturally from the shoulder seams.
Our model is wearing a tagged size 36. He is 5'9" (175 cm) tall, weighs 127 lbs (58 kg), and has a chest size of 36 inches (91 cm). He normally wears a US/EU S or 36.
Because fit may vary depending on body type, preferred layering, and personal preference, please use the actual garment measurements below as your primary reference. For the most accurate comparison, we recommend measuring a similar denim jacket that fits you well.
The following measurements show the garment itself, not your body measurements.
Please compare them with a similar jacket from your wardrobe to get a better sense of the fit.
In inches
Tagged Size 36
Width: 20.9" / Length: 22.8"
Sleeve: 31.5" (23.2") / Shoulder: 16.5"
Tagged Size 38
Width: 21.7" / Length: 23.6"
Sleeve: 32.7" (24.0") / Shoulder: 17.3"
Tagged Size 40
Width: 22.4" / Length: 24.4"
Sleeve: 33.9" (24.8") / Shoulder: 18.1"
Tagged Size 42
Width: 23.6" / Length: 25.2"
Sleeve: 34.3" (24.8") / Shoulder: 18.9"
Tagged Size 44
Width: 24.8" / Length: 25.6"
Sleeve: 35.0" (25.2") / Shoulder: 19.7"
In centimeters
Tagged Size 36
Width: 53cm / Length: 58cm
Sleeve: 80cm (59cm) / Shoulder: 42cm
Tagged Size 38
Width: 55cm / Length: 60cm
Sleeve: 83cm (61cm) / Shoulder: 44cm
Tagged Size 40
Width: 57cm / Length: 62cm
Sleeve: 86cm (63cm) / Shoulder: 46cm
Tagged Size 42
Width: 60cm / Length: 64cm
Sleeve: 87cm (63cm) / Shoulder: 48cm
Tagged Size 44
Width: 63cm / Length: 65cm
Sleeve: 89cm (64cm) / Shoulder: 50cm
[How We Measure the Actual Garment]
Width (Chest Width / Half Chest): Lay the garment flat and measure straight across from side to side, approximately 3 cm (about 1.2 in.) below the armholes.
Length (Body Length): Measured from the base of the back collar, where the collar meets the body, straight down to the bottom hem.
Sleeve (Sleeve Length from Center Back): The first sleeve measurement is taken from the center back at the base of the collar seam, across the shoulder, and down to the end of the cuff.
Sleeve in Parentheses (Sleeve Length from Shoulder Seam): The sleeve measurement shown in parentheses is taken from the top of the shoulder seam to the end of the cuff.
Shoulder (Shoulder Width): Measured straight across the back from the outer edge of one shoulder seam to the outer edge of the other.
Made in Japan.
Brand new with tags, in unused condition.
*All measurements are taken by hand with the garment laid flat, using a measuring tape.
*Please note that slight variations in measurements may occur due to individual garment differences and the measuring method.
*Actual color may vary slightly from the photos due to lighting conditions and individual screen settings.
Overall Product Character
This men's brown denim jacket is made in Japan by Studio D'Artisan and combines the construction of a classic early work jacket with two distinctive Japanese production techniques: low-speed denim weaving on a Toyoda GL-3 power loom and traditional Amami Dorozome mud dyeing. The jacket is constructed from substantial 15 oz. cotton denim woven from undyed ecru warp and weft yarns. After construction, the garment is dyed to create its earthy brown color.
The design is characterized by a short body length, vertically arranged front pleats, lower patch pockets, action pleats across the back, and an adjustable cinch-back strap. These functional details are derived from early workwear construction, but Studio D'Artisan has modified the overall balance and fabric specification to create a jacket suitable for contemporary casual wear.
This is an unlined, single-layer jacket. It can be worn as a light outer layer during spring and fall, over a T-shirt or lightweight shirt in milder weather, or as an intermediate layer under a heavier coat during colder seasons.
Silhouette and Fit
The jacket has a classic work-jacket silhouette with moderate room through the chest and torso, a relatively short body length, and a straight shape from the chest to the hem. It is not cut closely to follow the contours of the body, but it is also not designed with the substantially dropped shoulders or exaggerated proportions associated with modern oversized clothing.
The shoulder width is kept relatively natural, allowing the set-in sleeves to follow the wearer's shoulder line without creating excessive volume. The chest and body provide practical ease of movement, while the short length allows the hem to sit around the waist or upper hip area, depending on the wearer's height and body proportions.
The sleeves are designed with a standard length and a conventional set-in construction. The overall fit reflects the proportions of a vintage work jacket, providing enough room for layering while maintaining a controlled and balanced appearance.
15 oz. GL-3 Loom-Woven Denim
The jacket is made from 15 oz. denim woven from 100% cotton yarn on a Toyoda GL-3 power loom. The GL-3 was one of the earliest power looms developed in Japan and represents an important stage in the development of the Japanese textile industry.
Unlike modern high-speed weaving equipment, the GL-3 operates at an extremely low production rate. It is capable of weaving only approximately five meters of fabric per hour. This slow weaving speed allows the yarns to retain more of their natural irregularity and prevents the fabric from becoming excessively compressed or mechanically uniform.
Replacement components for the GL-3 are no longer commercially produced. Maintaining an operational loom may require usable parts to be recovered from other retired GL-3 machines. The limited availability of replacement parts, specialized mechanical adjustment, and low production efficiency make the continued use of this loom exceptionally labor-intensive.
The resulting denim has a firm, substantial hand with visible surface irregularity. Natural yarn thickness variation produces small neps, raised fibers, and uneven areas across the fabric. These characteristics are not manufacturing defects. They are inherent features of denim produced on early low-speed weaving equipment.
Studio D'Artisan Original Denim Specification
The denim was developed according to Studio D'Artisan's original fabric specification. The yarn count, yarn irregularity, warp and weft density, and weaving tension were selected to emphasize the distinctive characteristics of the GL-3 loom.
Both the warp and weft yarns are initially undyed ecru cotton. This differs from conventional blue denim, which is normally woven with indigo-dyed warp yarns and undyed weft yarns. By beginning with an entirely ecru denim base, the finished fabric can absorb the Amami Dorozome dye across both sets of yarns, producing a brown color that extends throughout the structure of the cloth.
The combination of irregular yarns, low-speed weaving, and substantial 15 oz. weight gives the fabric a pronounced three-dimensional surface. The cloth is not uniformly smooth. Instead, it contains subtle changes in yarn thickness, tension, and elevation that become more visible as the jacket is worn and washed.
Amami Dorozome Mud-Dyeing Process
The jacket is dyed using Amami Dorozome, a traditional dyeing technique practiced on Amami Oshima, an island in southern Japan. The process uses dye extracted from the locally grown Techi tree, also known as Sharinbai in Japanese. Its botanical classification is Rhaphiolepis indica var. umbellata.
The wood and bark of the Techi tree contain natural tannins. These materials are processed to create a botanical dye bath, and the garment is repeatedly immersed in the solution so that the tannins can penetrate the cotton fibers. The garment is then treated with the iron-rich mud found on Amami Oshima.
The iron in the mud reacts with the tannins absorbed into the fabric. This natural chemical reaction darkens the material and helps fix the color within the cotton fibers. Repeated botanical-dye and mud-treatment cycles gradually build the final earthy brown tone.
Because the coloration is created through repeated interaction between plant-derived tannins, iron-rich mud, water, cotton yarn, and manual processing, the resulting shade is not mechanically uniform. Minor variations in depth, surface tone, and color concentration may occur between individual garments and between different areas of the same garment. These variations are characteristic of the traditional dyeing method.
The finished color has a natural soil-like depth that differs from the flatter and more uniform appearance commonly produced by conventional synthetic dyes. The brown tone also emphasizes the neps, raised fibers, and irregular texture of the GL-3-woven denim.
One-Wash Finish
The finished jacket has been washed once before sale. This one-wash treatment removes a portion of the initial shrinkage and softens the rigid feel of newly woven denim, allowing the jacket to feel more comfortable and easier to wear from the beginning.
Although the one-wash process stabilizes the fabric to a certain degree, minor additional shrinkage or dimensional change may still occur depending on water temperature, washing method, drying conditions, and frequency of laundering. Cold water and natural air drying are recommended to reduce unnecessary shrinkage and color loss.
Wear and Color Development
The mud-dyed surface will gradually change through repeated wear, friction, movement, and washing. Areas exposed to frequent contact, including the seams, front pleats, pocket openings, cuffs, elbows, collar edges, and waistband, may develop lighter tones and more pronounced surface contrast.
The raised portions of the irregular denim surface will generally receive more abrasion than the recessed areas. This difference in friction can emphasize the fabric's uneven texture over time. The resulting color variation will depend on how the jacket is worn, how frequently it is washed, and the conditions in which it is used.
Because natural dyeing does not produce the same perfectly uniform and highly colorfast surface as some modern synthetic dye systems, gradual color transfer and fading should be regarded as inherent characteristics of the garment.
Collar Construction
The jacket has a simple shirt-style collar without a separate collar stand. The collar is attached directly to the neckline rather than being mounted on a raised band.
This construction keeps the collar base relatively low and creates a flatter roll than a collar with a separate stand. The result is a compact neckline that is consistent with the direct and functional construction of early work jackets.
Five-Button Front Closure
The front closes with five metal buttons positioned vertically along the front opening. The buttonholes are sewn horizontally, a traditional orientation that helps the button remain seated against lateral pulling forces generated when the wearer moves the arms or expands the chest.
The front placket is formed by folding the denim back on itself to create a double-layer structure. This reinforces the button and buttonhole area, helps control stretching along the front opening, and provides additional resistance to distortion during repeated fastening and unfastening.
Vertical Front Pleats
Four vertical front pleats are incorporated into the front body, with two pleats positioned on each side of the front opening. The pleats run parallel to the button placket, extending from below the front yoke to the upper edge of the waistband.
Each pleat is formed by folding a section of the front-body fabric inward and securing the fold at three separate points with horizontal rows of stitching. This construction retains a controlled amount of additional fabric within each front panel.
When the wearer reaches forward, raises the arms, or expands the chest, the folded sections can open slightly to provide additional ease across the chest and front body. This helps compensate for the limited stretch of the substantial 15 oz. denim and reduces pulling around the button placket, armholes, and upper front panels.
When the wearer returns to a neutral position, the pleats settle back into their folded configuration. This allows the front body to maintain a relatively flat and controlled appearance without the permanent fullness that would result from a wider body pattern.
In addition to their functional purpose, the four pleats create pronounced vertical lines extending along both sides of the front opening. This construction emphasizes the elongated panel structure and distinctive appearance associated with early work-jacket design.
Lower Patch Pockets
Two patch pockets are positioned on the lower front body, one on each side. The pockets have an open-top design without flaps, providing direct access while maintaining a simple and functional appearance.
The upper corners of each pocket are reinforced with metal rivets. These locations receive concentrated stress when the wearer inserts a hand or carries an object inside the pocket. The rivets help distribute this load and reduce the possibility of the pocket corners separating from the body fabric.
The pockets are constructed from the same 15 oz. mud-dyed denim as the main body. As the jacket is worn, the pocket edges and riveted corners may develop visible abrasion and color contrast.
Set-In Sleeve Construction
The sleeves are attached to the body with conventional set-in armholes. Unlike a dropped-shoulder or raglan construction, the sleeve seam is positioned close to the natural shoulder point.
This construction gives the shoulder area a controlled shape and allows the sleeve to extend naturally from the upper body. It also helps preserve the structured appearance associated with classic work jackets.
Button Cuffs and Riveted Cuff Slits
Each sleeve is finished with a single-button cuff. A cuff slit is positioned above the cuff opening to provide enough space for the hand to pass through the sleeve and to allow the cuff to open during dressing.
A reinforcing metal rivet is installed at the upper end of each cuff slit. This point is exposed to repeated pulling and concentrated stress when the cuff is opened, closed, or pulled over the hand. The rivet helps reduce the risk of the slit extending or tearing into the sleeve fabric.
Black-Coated Metal Buttons
The front and cuff buttons are made from metal and finished with a black coating. Each button is stamped with the Studio D'Artisan brand logo.
The dark hardware coordinates with the earthy brown denim while maintaining a restrained industrial appearance. With extended wear, friction may gradually alter the surface of the black coating, particularly along raised edges and areas that frequently contact the buttonholes.
Straight Back Yoke
The upper back is divided by a straight horizontal yoke extending across the shoulders. This yoke supports the upper portion of the jacket and provides a stable structural transition between the shoulder area and the lower back panels.
Below the yoke, the back body is constructed from two panels joined by a vertical center seam. The center seam helps shape and stabilize the wide back area while maintaining the symmetrical appearance of the jacket.
Rear Action Pleats
Vertical action pleats are positioned on both sides of the back body. The pleats extend from below the back yoke toward the waistband area.
When the wearer reaches forward, lifts the arms, or moves the shoulders, these pleats can open to release additional fabric across the upper back. This increases mobility through the shoulder blades and reduces the amount of pulling transferred directly to the armholes, shoulder seams, and back yoke.
When the arms return to a neutral position, the pleats fold back toward the body. This allows the jacket to provide additional movement without requiring a permanently wide or oversized back silhouette.
Adjustable Cinch-Back Strap
An adjustable cinch-back strap is positioned near the lower back. The two ends of the strap are secured to the body with metal rivets, and the strap passes through a metal buckle.
Tightening the buckle draws in a portion of the fabric at the rear waistband, allowing the wearer to make a limited adjustment to the circumference and shape of the lower back. Loosening the strap restores more room through the hem.
The cinch-back is both a functional adjustment device and a characteristic detail associated with early workwear construction.
Please note that the exposed buckle and rivets may scratch or abrade surfaces such as automobile seats, leather or fabric sofas, chairs, painted furniture, and other finished materials. Care should be taken when sitting or leaning against delicate surfaces.
Leather Brand Patch
A Studio D'Artisan leather brand patch is attached inside the jacket at the back of the neck. The leather will gradually soften and change in tone with exposure to movement, moisture, body heat, and repeated wear.
Natural differences in grain, color, and surface texture may be visible in the leather. These characteristics are inherent to the material rather than defects.
Modified Vintage Work-Jacket Design
The jacket incorporates recognizable elements of early work-jacket construction, including a short body, low collar, vertical front pleats, riveted patch pockets, set-in sleeves, cuff slits, rear action pleats, a center-seamed back, and an adjustable cinch-back.
Rather than serving as a direct reproduction of one specific historical garment, this model combines these traditional construction details with Studio D'Artisan's proprietary GL-3 denim specification and the natural coloration of Amami Dorozome mud dyeing.
The result is a modified work-jacket design that retains the practical structure of vintage clothing while presenting a distinctive brown color and fabric texture developed through specialized Japanese weaving and dyeing processes.
Natural-Dye Color Transfer
This garment is colored with natural dye, and excess pigment remaining on or near the surface may transfer through friction. Until the initial excess color has gradually been reduced through wear and washing, the jacket should be kept away from light-colored clothing, bags, upholstery, footwear, and other items that may easily absorb pigment.
Color transfer may occur when the jacket is dry, but the risk increases when the fabric is damp from rain, perspiration, washing, or high humidity. Friction at the cuffs, underarms, waistband, collar, and areas that contact bags or seats may also cause pigment to transfer.
Do not place the wet or damp garment directly against other clothing or household surfaces. Do not leave the jacket soaking in water or folded while wet, as dissolved dye may migrate and create uneven staining.
Washing and Care Precautions
Wash this jacket separately from other garments. Use cold water and a mild detergent. Do not use chlorine bleach, oxygen bleach, hot water, or a tumble dryer.
After washing, remove the jacket promptly, reshape it carefully, and allow it to air-dry in the shade. Avoid leaving the garment wet for an extended period. Prolonged soaking or contact with other wet materials may cause dye to bleed or transfer.
Because of the natural dyeing process, some color loss is expected during washing. Variations in fading and surface color are part of the intended character of the garment.
Made in Japan
The jacket is made in Japan using Studio D'Artisan's original 15 oz. GL-3 loom-woven cotton denim and finished with traditional Amami Dorozome mud dyeing. Its fabric, construction, hardware, and functional details combine Japanese textile production with the practical design principles of classic workwear.
Toyoda GL-3 Power Loom
An Early Japanese Power Loom
The GL-3 is an early Japanese shuttle-type power loom manufactured by Toyoda Automatic Loom Works, now known as Toyota Industries Corporation. It was developed before the widespread adoption of modern high-speed textile machinery and reflects an earlier stage of Japanese weaving technology.
Only a limited number of GL-3 looms remain in operation today. Their rarity, low production capacity, and distinctive weaving characteristics have made them highly valued for producing specialized fabrics with pronounced surface variation.
Difficult to Maintain
Replacement parts for the GL-3 are no longer commercially manufactured. When a component becomes worn or damaged, usable parts may need to be recovered from another retired or non-operational GL-3 loom.
Keeping the machine in working condition requires experienced technicians who understand its mechanical timing, shuttle movement, yarn tension, take-up system, and other operating characteristics.
Small changes in alignment or mechanical adjustment can affect both the stability of the weaving process and the appearance of the finished fabric. Regular inspection, careful adjustment, and continued maintenance are therefore essential.
Extremely Slow Weaving Speed
A GL-3 can weave only approximately five meters of fabric per hour. This is considerably slower than contemporary high-speed looms designed for large-scale industrial production.
From a manufacturing perspective, the GL-3 is highly inefficient. It requires more time, closer supervision, and greater mechanical attention to produce a relatively small quantity of fabric.
However, the slow operating speed allows the yarns to be woven without creating the highly compressed, smooth, and mechanically uniform surface commonly associated with modern mass-produced textiles.
Why the GL-3 Is Called a "Phantom Loom"
The GL-3 is sometimes referred to as a "phantom loom" because very few operational machines remain, replacement parts are difficult to obtain, and the technical knowledge required to maintain them is increasingly specialized.
The term also refers to the distinctive fabric character produced by the machine. Depending on the yarn and weaving specification, the GL-3 can produce visible neps, slubs, uneven elevations, and subtle variations in surface density that are difficult to reproduce with modern high-speed equipment.
These characteristics are not manufacturing defects. They result from the combination of irregular yarns, low-speed weaving, carefully controlled tension, and the mechanical properties of the older loom.
Fabric Characteristics Produced by the GL-3
Fabric woven on the GL-3 typically has a substantial hand and a visibly irregular surface. Differences in yarn thickness, tension, and placement create raised and recessed areas throughout the cloth.
Small neps, slubs, loose surface fibers, and variations in texture may be visible. Neps are small groups of entangled fibers, while slubs are thicker sections formed within intentionally irregular yarns.
Rather than appearing perfectly flat and uniform, the surface contains subtle variations that become more noticeable under changing light and through continued use.
The exact appearance and hand of the fabric depend on the yarn count, yarn irregularity, warp density, weft density, weaving tension, and other production specifications selected for each fabric.
Craftsmanship Rather Than Production Efficiency
Producing fabric on the GL-3 requires substantially more time and manual involvement than weaving on modern industrial machinery.
The loom must be carefully maintained, weaving conditions must be monitored, and mechanical adjustments may be required during production. The objective is not maximum output or complete visual uniformity, but the creation of fabric with controlled irregularity and distinctive surface character.
Each length of fabric reflects the interaction between the loom, the yarn specification, the mechanical settings, and the judgment of the loom operator.
The GL-3 therefore represents a production method that prioritizes fabric character, technical skill, and careful small-scale manufacturing over speed and efficiency.
Handling Amami Dorozome Mud-Dyed Products
Traditional Amami Dorozome Dyeing
Amami Dorozome is a traditional mud-dyeing method practiced on Amami Oshima in southern Japan.
The process uses a botanical dye extracted from the Techi tree, also known in Japanese as Sharinbai. The wood and bark contain natural tannins that can bond with textile fibers and react with iron.
The material is repeatedly immersed in the plant-based dye solution so that the tannins penetrate the fibers. It is then treated with iron-rich mud from Amami Oshima.
The iron in the mud reacts with the tannins and gradually deepens and fixes the color. Multiple dyeing and mud-treatment cycles are required to build the characteristic earthy tone.
Natural Color Variation
Amami Dorozome does not produce the mechanically uniform appearance associated with conventional synthetic dyeing.
Minor differences in color depth, concentration, and surface tone may occur between individual products. Subtle variations may also be visible within different areas of the same product.
Seams, folds, reinforced areas, and sections containing multiple layers of fabric may absorb or retain the dye differently from single-layer areas.
These variations are inherent characteristics of the traditional dyeing process and should not be regarded as defects.
Color Transfer Through Friction
Natural dye remaining on or near the surface may transfer to other materials through friction.
Particular care should be taken when a mud-dyed product comes into contact with white or light-colored clothing, bags, shoes, furniture, automobile seats, upholstery, or other finished surfaces.
Areas exposed to repeated rubbing may release color more readily. Color transfer is often more noticeable during the early period of use, although it may continue depending on moisture, friction, and washing conditions.
Color Transfer When Wet or Damp
Moisture can increase the possibility of dye transfer. Perspiration, rain, washing water, humidity, or other sources of moisture may cause the surface dye to become more mobile.
When the product is damp, avoid direct contact with light-colored clothing, bags, furniture, car seats, and other materials that may absorb the dye.
Do not leave the wet product folded, compressed, or placed against another item for an extended period. Prolonged contact while wet may result in color transfer, uneven staining, or migration of dye between different sections.
Washing Instructions
Wash mud-dyed products separately from other items because released dye may transfer during washing.
When appropriate for the product, turn it inside out before washing. This reduces direct abrasion against the dyed outer surface and may help limit unnecessary surface color loss.
Use cold or lukewarm water, a mild detergent, and a gentle washing method. Avoid excessive mechanical agitation, scrubbing, brushing, or concentrated rubbing.
Do not use chlorine bleach or oxygen bleach. Avoid hot water and tumble drying unless specifically permitted by the care label attached to the product.
After washing, remove the product promptly, reshape it carefully, and allow it to air-dry naturally in the shade. Do not leave it soaking or wet for an extended period.
Always follow the specific care instructions provided on the product label.
Drying and Sunlight Precautions
When appropriate, turn the product inside out before drying and place it in a well-ventilated shaded area.
Avoid prolonged exposure to direct sunlight. Strong ultraviolet light may cause natural dyes to fade, discolor, or change unevenly, particularly when the product remains exposed in the same position for an extended period.
Direct sunlight should not be used intentionally to darken or develop the color, as it may instead cause unwanted or uneven fading.
Natural Aging and Color Development
The color and surface appearance of Amami Dorozome products will gradually change through use, friction, washing, moisture, and exposure to air.
Areas that receive frequent contact may become lighter, while recessed or less exposed areas may retain a darker tone. The resulting appearance will vary according to how the product is used, cleaned, dried, and stored.
No two naturally dyed products will develop in exactly the same manner.
Characteristics of Natural Dye
Color fading, surface variation, and occasional color transfer are inherent characteristics of Amami Dorozome and other natural dyeing methods.
These properties differ from the high degree of color uniformity and colorfastness commonly associated with modern synthetic dyes.
Careful handling can reduce unwanted transfer and uneven fading, but it cannot completely prevent the natural color from changing over time.
Please handle Amami Dorozome products with appropriate care and enjoy the individual color development and surface character created through continued use.
Care Instructions
Machine wash on a gentle cycle at a maximum water temperature of 40°C (104°F).
Do not use chlorine bleach or oxygen bleach.
Iron at a medium temperature with a pressing cloth placed between the iron and the garment.
Do not dry clean.
Due to the nature of the dye, color loss may occur. Wash separately from other garments.
Due to the characteristics of the fabric, slight shrinkage may occur after washing.
Color may transfer to other clothing, accessories, upholstery, or other surfaces through friction or when the garment is damp from perspiration, rain, or other moisture.
Important Notes
*Our online inventory is shared with our physical retail store. As a result, changes in store inventory may not always be reflected immediately on the website.
*Even after an order has been placed, an item may occasionally be sold out due to the timing of simultaneous purchases. We sincerely appreciate your understanding.
*All measurements are taken manually with the garment laid flat and measured using a tape measure.
*Because individual garments may vary slightly and measurement methods can differ, minor measurement discrepancies may occur.
*The actual color of the product may appear slightly different from the photographs depending on the lighting conditions during photography and the settings of your monitor or display.