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These t shirts are unique for being made exclusively for us wholly with fibres ring spun into yarns manufactured exclusively for WeAdmire. These yarns are then knitted into a single jersey fabric suitable for t shirts.
The CoolMax bit exploits the surface tension of water to wick moisture from your skin. It works through micro channels engineered into the profile of the fibre. These channels are physical attributes, they are there for the life of the fibre.
The Fresh FX bit embeds a silver salt in the molecular structure of the fibre that stops the propagation of bacteria which, left unchecked, ultimately cause a sour odour. Because the silver salt is embedded within the fibre it, like the wicking, is similarly permanent; it will not leech out with wear and washing.
These attributes deliver shirts that remain cool and dry almost regardless of what you might do in them and similarly they remain fresh. And the ongoing performance of the fabric is guaranteed. This is important, these shirts will become your favourite items of apparel, you will want to wear your shirts again and again.
These shirts are marvellous to travel with, they stay fresh if you don’t have the chance to wash them, they wash easily when you do have the chance, and they dry super quickly. There is also a very useful side effect to all this: our shirts keep anything you wear on top of them and what you might wear after wearing them fresher too.
The cut and fit and sizing of these shirts is exclusive to us and was specified by Anastasia Vouyouka, a published guru of fit in the fashion industry.
The feel of the very best natural fibre shirts you have experienced with the performance of the fibres that set the benchmarks for wicking and freshness. It is very unlikely you will have experienced this level of technical performance in a decorated t shirt before.
Alan Fletcher has been so influential in the grahic design world and on my work I have created two t-shirts in his honour. My other Alan Fletcher t-shirt can be found here.
Born in Kenya in 1931, Alan Fletcher moved back to England in 1936 after his father became terminally ill. After enrolling at Hammersmith School of Art in 1949, he transfered to Central School then on to the Royal College of art in 1953.
By 1956 he won a scholarship to Yale’s School of Architecture and Design where he was taught by Alvin Eisenman and Paul Rand. During his time in America he worked for Fortune magazine and at Saul Bass’ studio in Los Angeles before heading back to Europe via Italy getting work for Pirelli in the process.
It was in 1962 that he set up in partnership with Colin Forbes, his old classmate at Central, and Bob Gill to make Fletcher/Forbes/Gill. More work for Pirelli followed along with exposure beyond the graphic design community- Vogue saw fit to feature the firm’s work- and a thriving business.
The lineup changed to Crosby/Fletcher/Forbes when Bob Gill left and the architect Theo Crosby arrived in 1965. A substantial multidisciplinary commission arrived in the form of Reuters, which needed an identity which covered more than just its corporate logo. Fletcher found inspiration in the tickertape machines which were then used to transmit news internationally. He rendered ‘Reuters’ in a basic grid of eighty-four dots. This logo survived right up until 1996 when it was retired because the dots were hard to see clearly on computer screens. I think a almost 30 year stretch for one logo to stick is a rare acheivement indeed.
With success came more contributers and by 1971 Crosby/Fletcher/Forbes morphed into Pentagram. It was during the Pentagram days that Fletcher’s logo for the Victoria & Albert Museum was spawned. The V&A’s distinctive, unfussy and classic logo has also withstood the test of time.
Alan Fletcher left Pentagram in 91 after 20 years of incredible work, later becoming consultant art director at Phaidon Press, publishing his own books among other duties. He died in East Sussex in 2006.