Interview:Merz B. Schwanen

His love for vintage fashion led Peter Plotnicki to launch a collection of men's apparel inspired by the 20s, 30s and 40s. With the help of a traditional knitwear manufacturer in the Swabian Mountains he revived the old way of crafting clothes by applying authentic manufacturing processes and workmanship.

The descendants of Balthasar Merz, founder of the 1911 established clothing manufactory Merz b. Schwanen, allowed Peter to use the brand name and carry on the family's tradition and history.

During his London visit we've met up with Peter to find out more about the history of Merz b. Schwanen and the specific characteristics of their product.

LN-CC: Can you tell us about the idea of Merz b. Schwanen?

Peter Plotnicki: We'd like to transport the tradition of manufacturing of the Swabian Alps in a contemporary setting. The first collection is highly geared to originals and the next step will be a twist into more fashionable styles. We love authentic things and the opportunity to continue a product in this way doesn't mean work for us, it comes from our hearts.

LN-CC: You've got classic styles, which will be available permanently, but will there also be new styles added each season?

Peter Plotnicki: The basic line and colours we've got now will be available ongoing, though the line will be complemented by new colours and then maybe as well new style variations.

LN-CC: When did you start the label?

Peter Plotnicki: The family Merz founded the company in 1911 and they've gone out of business four years ago. At the same time we found a producer, who owns all these old machines and also had the fascination to manufacture things on these old machines. Then we've been looking for a name and the producer introduced us to the family Merz. They gave us permission and really liked the idea of us continuing the label under their name. So even though we just started half a year ago, we can continue telling a hundred year old story.

LN-CC: Can you describe the historical background of knitting in the German Swabian Alps?

Peter Plotnicki: The historical background dates back far into the past. The region lived on farming in former times, which was difficult, as the area was located very high, so it wasn't very often warm and the soil wasn't that fertile. The farmers needed to build up earnings on the side.

Someone then started to install circular knitting machines on farms, which were manually operated back then, mainly for the production of stockings. The farmers started to knit on circular looms next to the farming work. The breakthrough evolved with the production of underwear. At that time underwear was made of linen, absolutely uncomfortable and scratchy. The possibility to manufacture the underwear in cotton, which was possible with these machines, was the breakthrough for this region.

The city had about 30.000 inhabitants and then about 100.000 people have worked in this industrial sector. It was a big thing, but not a lot of it is left today.

LN-CC: Can you describe the production process nowadays?

Peter Plotnicki: The head office is in Berlin and production takes place in the Swabian Alps. The ideas are based on historical garments, we develop the designs in Berlin and try to realize them with the help of our producer.

LN-CC: What are the characteristics of the pieces?

Peter Plotnicki: First of all, it's the fabric itself, as it has such a different visual appearance when produced with these old machines. If you have a precise look at it and hold it against the light, you'll see irregularities, it's knitted [German: 'gewirkt'] in a loose way. I consciously say 'wirken', even though this word doesn't exist in English -you can just translate it with 'knitting'- but it's a term of it's own which can't be realized with new machines.

Also there is the possibility to platinize. When we like to produce a m'elange, we wouldn't produce it with a mixed thread - we would mix in the machine a grey and a natural coloured thread. These pieces consequently have a natural coloured inner side and an outer side in grey m'elange, because the natural thread goes through to the outer side. On new machines this wouldn't be possible.

A further characteristic is that there are no side seams, so every size needs it's own machine. Lots of machines don't work like that. Normally everything is knitted in one width, then it gets cut and the pieces get side seams.

Furthermore our pieces have a triangular insertion under the arm, a typical attribute of the production - it was usual to do it like that in the past. The reason was conditional upon cut and on the other hand to achieve an optimal fabric consumption. The arm didn't get cut chronically, thereby the fabric consumption was a lot less. To get the width in this area they inserted the triangle.

Another feature is that everything is made in Germany. From packaging to the labels, which are manufactured on jacquard looms, all is made in Germany. We had to search very long to find a producer with the suitable label machine, as they get produced on a hundred years old machine now. The problem wasn't so much to find the machine itself, but to find a producer, who is actually able to make the punch cards and to weave in the motive into the labels. The old machines are not computer controlled, so the weaving must be done with punch cards. Through a museum we finally got the right contact.

Oh, and another specialty is that we've got two pieces in the collection which are made from Dead Stock, Egyptian cotton, which is at least 50 to 70 years old. When it's gone, it's gone and these pieces won't be anymore available. We also use buttons from that time, pearl buttons and laundry buttons.

LN-CC: How did the Nigel Cabourn collaboration came across?

Peter Plotnicki: We've known Nigel since one and a half years, we have exhibited together at Bread & Butter, when we had a different product. Since then our paths have crossed regularly, mostly in Paris at the Premi`ere Vision. When we've begun with the project, a button-facing shirt, a very long, thick, crazy thing, ended up at a buyer from Manufactum.

When Nigel discovered it, he immediately asked her who is doing these shirts. She told him about our idea and that we're working on it just now. Coincidentally we've met again at the Premi`ere Vision and then he asked me directly if I could imagine a collaboration. Great thing for us! We will definitely continue the cooperation. We started the collaboration with two pieces, but the collection for the summer season is way bigger. We will for sure continue, as he couldn't find anything authentic like that in the jersey area or a production that would be able to deliver to his standards.

Interview by Lilli Heinemann