With so many new brands and start-up labels finding their way out of the woodwork and into the fashion-scape these days, it's seemingly becoming harder to find one with a unique point of difference. For Déborah Neuberg's recently launched venture DE BONNE FACTURE, this uniqueness is found in exploring a particular French identity. Working with several traditional ateliers, Déborah and her team put a significant amount of emphasis on old world craftsmanship and a high level of individual love afforded to each piece by the craftsmen who produce them. These values are then applied to modern, but classic, ways of dressing.

 

Having left behind a background in product development at Hermès, (where the culture of craftsmanship and excellence is arguably at its highest), Déborah found she wanted to highlight local and traditional craftsmanship of smaller, family-owned ateliers, and come back to the quality she feels closest to, whilst repairing the disconnect between craftsman and consumer. The early results are seen in DE BONNE FACTURE's debut collection for Fall/Winter 2013; timeless, elegant clothing and accessories for today's Parisian man.

 

Jack Smylie: Tell us about DE BONNE FACTURE - what is the concept behind the brand? :

Deborah Neuberg: The concept is to bring together menswear essentials with the craftsmanship of hand-picked ateliers in France. My idea is to make contemporary classics that have real high quality craftsmanship incorporated into them- with a distinct French identity. A really important part of it is the link between a garment and an atelier. When I was working at Hermès we collaborated with independent ateliers with incredible craftsmanship but even though they greatly participated in the end-product they were never mentioned. Just a "made in". Never a "made by". I wanted to change that and bring a more open vision of the craft behind high quality clothes. 

 

JS: Do you feel there was a gap in the market for a brand like DE BONNE FACTURE to fill? 

DN: When you look at a garment, you generally associate it to the brand, or the designer, but really the reason why it's there in front of you is as much the atelier who made it, that actually built the garment. People really want to know that kind of information today, I really believe in that. Price-wise I also think people want to understand the link between the craftsmanship, the time it takes to produce quality, and the price. There's been a disconnection concerning that on the market, people need to reconnect value with time and craftsmanship. First of all because the sense of the "product for the product" has been lost even though some niche brands are focusing on that idea again. I believe in "clothes" which is just a different approach, back to the essentials and with a sense of sincerity. Second of all, I feel there is a French way of dressing that's not as represented as it should and DE BONNE FACTURE is there to give a place those French contemporary classics. 

 

JS: By working with various ateliers and craftsmen the brand inevitably seems to possess a sense of organic design, old world craft and dedication to process. Would you agree these are values central to DE BONNE FACTURE? What else?

DN: Yes, the way a garment is fabricated gives it a distinct personality, and sticking to essentials and sober lines makes that very apparent. Like when you turn the volume down and you can hear all the small noises. The key values are keeping design essential, dedication to craftsmanship, trying to bring something special in a way only people who really care will notice. No Logo. (I read that book from naomi klein when I was 17 and I realize it has been a huge influence in the way I built my own vision). 

 

JS: Tell us about some of the traditional ateliers you have been working with. 

DN: I've been doing a lot of traveling around France in 2011 to find ateliers who have real craftmanship but also a story. I privilege family owned ateliers. Some have passed on very interesting stories they are sometimes not even aware of, it's so part of them. Like my knitted tie atelier who has been living around those beautiful 1905 machines in cast-iron and leather they didn't even realize how extraordinary they were. The manager of the Brittany knits maker is the grandson of the original founders, he started showing me pictures and ledgers from the 1930s and seemed to be surprised I was so interested in that history. The shirting specialist is also quite incredible, he can explain invisible fabrication details that make his shirt making exceptional for hours and hours. When I'm on location talking and working with these people I really feel incredibly happy to be able to understand and pass on that culture of craftsmanship.

 

JS: Recently you launched the brand's Winter 2013 range in Paris. Can you discuss some of the themes of your debut collection?  

DN: Just wanted to start building the library. That's the way I see DE BONNE FACTURE. The French essentials you should have in your closet. Step by step I'd like to build that ideal wardrobe.    

 

JS: Aesthetically, you've referenced a modern, yet traditional way of French dressing - smart but with a sense of nonchalance. How important for you is it for the brand to hold onto a uniquely French identity, if at all? 

DN: It's very important! Have you ever seen a definition of French dressing before? In men's fashion history books, it's practically non existant. It's always about the English elegance. Or Italian sprezzatura. Or even American casual. People have a sense of it in womenswear. But as a Parisian I've always felt it in menswear also. I'm very sensitive to that.

 

JS: Can you expand upon the vision of the brand? Where would you like to take it from here?

DN: It's all about the library. Finding many more ateliers on different types of know-hows to work with and develop the selection of pieces.

 

debonnefacture.fr

 

Jack Smylie