10 things to know about your Levi’s 501

10 things to know about your Levi’s 501

Collater.al Contributors · 1 month ago · Style

May 20 marks the anniversary of one of fashion’s iconic garments, the Levi’s 501 jeans. Since the first model in 1873, the American brand has followed a path that has led its most famous denim model to become first a reliable workwear, then a symbol of countercultures born over the decades of the second half of the 20th century.
For a century the Levi’s 501 has retained many of its features, which have also made it a fetish for vintage and archival fashion enthusiasts, but small details have also changed that might help you date the last pair you bought at the yard sale you went to last month. From the RED TAB to the patch, are you sure you’re familiar with Levi’s 501s? What about your particular pair?

Levi's 501 | Collater.al

1.
One of the rarest pieces in existence are Levi’s Calico jeans, an original 501 believed to be the oldest in the world and dating back to 1900. They were discovered in a former mine in Calico, a ghost town in California’s Mojave Desert, where a teenager had gone for a hike. found a room full of jeans she took the best-preserved ones, patched them up and wore them a few times, before noticing on the label a familiar inscription: LS&Co.

2.
Marilyn Monroe was one of the first women to wear 501 jeans in a movie, the film was River of No Return (1954) directed by Otto Preminger.
According to Bob Calacello (former editor of Interview magazine), Andy Warhol is credited with the popularity of the jeans+blazer pairing, which the pop art artist used to sport while wearing Levi’s 501s himself. Before him, no one had paired a suit jacket in that way.

3.
If your 501s on the inner label have indicated a possible shrinkage of “about 8%” it means that they are pre-1981. From that date in fact the indication changes to “about 10%.”

THE RED TAB

4.
The famous label on the back of the 501 was added in the 1930s to distinguish Levi’s jeans from the competition. It is one of the jeans’ signatures along with the button closure, copper rivets, and leather label.

5.
If your Levi’s has the RED TAB on only one side, it means that the 501 was manufactured before 1951. In fact, in the early 1950s the word “LEVI’S” began to appear on both sides of the red tab.

6.
If the label on your pair is written with a capital “E” it means they are made before 1971. Pre-1971 RED TAB is commonly referred to as Big E. Another common feature of vintage Levi’s, however, is the small “V” seam that runs along the edge of the button closure. This stitch runs from the top of the waistband to about a quarter of an inch below the waistband itself, and then back up at an acute angle to the waist button, creating a sort of “V.” This was a standard feature of 501s until 1969.

Levi's 501 | Collater.al

THE PATCH

7.
If the Two Horse brand patch on your jeans is attached to the belt loop, it means they are pre-1970. Around 1969-71 (and until recently) Levi’s introduced a thinner cardboard patch that had a tear-off section on the right side, which allowed more space between the patch and the first belt loop.

8.
If you read the number 501 XX on the patch then you have a very good model of denim on your hands. When the Two Horse brand patch was first introduced (1886), Levi’s used the XX symbol to indicate that the denim was eXXtra strong, referring to the use of denim from Amoskeag Denim Mills in Manchester, New Hampshire. The “XX” inscription last appeared on the transitional 1966-68 501xx 501 model and was not reintroduced until 1987. 

9.
The inscription “Every Garment Guaranteed” indicates a model produced until about 1963. The 501XX Jeans used to have this inscription on the Two Horse patch above the lot and size numbers, but it appears that this indication was dropped during 1963. 

10.
What material is “The Two Horse” patch made of? If the one on your 501’s is leather they were manufactured before 1954, when the leather patch was phased out in place of a thicker Jacron (faux leather) one.

10 things to know about your Levi’s 501
Style
10 things to know about your Levi’s 501
10 things to know about your Levi’s 501
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Brad Walls knows that squash is a geometric sport

Brad Walls knows that squash is a geometric sport

Tommaso Berra · 3 days ago · Photography

It could not have been easy to fly a drone inside a 20-square-meter squash court, but photographer Brad Walls felt it was the only way to enhance geometry and movement in a few shots. The “Vacant” series depicts the geometry of bodies, moving a choreographed within scenes inspired by surrealism and retro-futurism.
The idea of choosing that particular location came from a visit by the artist to the squash court in which he played in his high school days. The empty space the lines of the field inspired the artist to create one of his aerial series, which had at its center the human body detached from the context but perfectly inserted into the geometric layout.

Squash | Collater.al

One of Brad Walls’ challenges was to avoid a claustrophobic effect, so white is the predominant color in the shots, repeated even in the models’ clothes, a choice that would make even Wimbledon organizers happy.
The clothes themselves are an element that reinforces the concept of retrofuturism, creating a tension between past and future through the inclusion of a futuristic wardrobe in an 80s context such as the squash court.
Looking forward to publishing his first book, due out in the fall and titled “Pools from Above,” Brad Walls defined “Vacant” as follows: “Geometry provides a hint at consistency in an ever inconsistent world. Innately, humans are drawn to it. Me, maybe more so”.

Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Brad Walls knows that squash is a geometric sport
Photography
Brad Walls knows that squash is a geometric sport
Brad Walls knows that squash is a geometric sport
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All for the Gram – Soviet Innerness

All for the Gram – Soviet Innerness

Tommaso Berra · 3 days ago · Photography

Hosted this week by All for the Gram is not just a serial profile but an actual archive that collects details of an aesthetic that, however decayed, still holds great appeal. Soviet Innerness is a journey into Soviet design through the interiors of abandoned houses, amid torn wallpaper and cold, chipped tiles.

The wallpaper has been replaced in some cases by newspaper pages bearing news and photos from the 1980s, the peeling walls look like a layering of now-faded colors, as do the flower designs that once probably appeared more colorful.
The walls of Soviet Innerness are full of tired geometries, blocks of color and forms that always give the idea of unfinished, or of something that ended too quickly, leaving time for cracks to make everything look so beautiful and decadent.

The project curated by Elena Amabili and Alessandro Calvaresi describes the aesthetics of the Eastern Bloc and the themes that were present throughout the houses. There are illustrations on the walls of the countryside in USSR space, but also the great industrialization of communist cities and the memory of Misha, the popular mascot of the 1980 Moscow Olympics.

All for the Gram – Soviet Innerness
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All for the Gram – Soviet Innerness
All for the Gram – Soviet Innerness
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Giulia Degasperi’s tale of pastoralism in Trentino

Giulia Degasperi’s tale of pastoralism in Trentino

Tommaso Berra · 4 days ago · Photography

In summer, whole herds of cattle move from the valleys to the mountain meadows, thousands of feet above sea level, where the air is thinner and the rhythms are dictated only by nature’s needs. Along with the animals travel shepherds, who in the mountain pastures become part of a single cycle of life, which does not suffer pauses but flows slowly and steadily.
Giulia Degasperi has represented this age-old practice of the mountains of Trentino, without directly showing the beauty of the landscapes but that of work, effort and tradition. The series “These Dark Mountains” is an anthropological study that describes the abandonment of small mountain towns and the difficulty of preserving habits that have always linked man and nature.
The choice to shoot in black and white makes the photographs almost timeless. One cannot frame a historical period because everything has remained the same, from the places to the shepherds’ clothes.

You can support the publication of a volume dedicated to the work of photographer Giulia Degasperi through the fundraiser launched by SelfSelf, click here to find out how you can help make this photography project a reality.

Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi | Collater.al
Giulia Degasperi’s tale of pastoralism in Trentino
Photography
Giulia Degasperi’s tale of pastoralism in Trentino
Giulia Degasperi’s tale of pastoralism in Trentino
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A world without adults in the photos of Julie Blackmon

A world without adults in the photos of Julie Blackmon

Tommaso Berra · 1 week ago · Photography

A world without “when I was your age it was different,” without “the youth of today are worthless,” a world in which therefore there is no “adultsplanning” and children seem to be able to do everything in total autonomy.
This is the landscape depicted in photography by Julie Blackmon, an American artist associated with family issues and small-town life.
The shots are social satire disguised within everyday scenes in which children are the real protagonists, not to say the only ones. All the details depicted are symbolic, as is the arrangement of the subjects, inspired by scenes painted by 17th-century Flemish painters.
Julie Blackmon’s goal is to represent the context of small American communities, tracing the dreams promoted by the American model.

One characteristic of Julie Blackmon’s children is their total detachment from anything related to contemporary technology. Thus they can be found playing “like in the old days,” painting the driveway with chalk, or in the handcrafted swimming pool in their own backyard.
Of inspiration for the photographer’s vision is the context of large families, being herself the eldest of nine siblings. In doing so she traces memories and what more generally influences childhood, made up of landscapes and elements that shape the way we think even as adults, those that Julie does not want to represent, deliberately leaving the feeling of a world in which everything is disconnected.

A world without adults in the photos of Julie Blackmon
Photography
A world without adults in the photos of Julie Blackmon
A world without adults in the photos of Julie Blackmon
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