LOOK Puffer SNOW SKI Vest Large Mens LG Vest Vintage Mondrian White Red Blue VTG

Great pre owned condition. Inventory code 0428241189mv

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Measurements (laid flat):

• Chest (pit to pit): 23”
• Shoulder width (seam to seam): 19”
• Armpit to hem: 14”
• Overall length: 22”

From the manufacturer

Look is a French sports equipment manufacturing company based in Nevers that has led the innovation of alpine skiing quick-release binding systems. The company later moved into cycling with innovations in clipless pedals and carbon fiber frames.[1] The Look logo was inspired by Piet Mondrian paintings.

1983

The company is sold to the Bernard TAPIE Sport group. The business man wants to breathe new life into the brand and recruits world cycling idol, Frenchman Bernard HINAULT. Bernard TAPIE invests massively and uses his companies as sponsors to finance his project.

La Vie Claire (an organic food retailer) will give its name to the team. Terraillon, Wonder and LOOK also appear on the jerseys. His communication team draws inspiration from the works of painter Piet Mondrian to create the new visual identity of the group and the LOOK brand.

From Wikipedia:

Pieter Cornelis Mondriaan (Dutch: [ˈpi:tər kɔrˈneːlɪs ˈmɔndrijaːn]), after 1906 known as Piet Mondrian (/piːt ˈmɒndriɑːn/, also US: /- ˈmɔːn-/, Dutch: [pit ˈmɔndrijɑn]; 7 March 1872 – 1 February 1944), was a Dutch painter and art theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th-century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.

During late 1920 and 1921, Mondrian's paintings arrive at what is to casual observers their definitive and mature form. Thick black lines now separate the forms, which are larger and fewer in number, and more of the forms are left white. This was not the culmination of his artistic evolution, however. Although the refinements became subtler, Mondrian's work continued to evolve during his years in Paris.

In the 1921 paintings, many, though not all, of the black lines stop short at a seemingly arbitrary distance from the edge of the canvas, although the divisions between the rectangular forms remain intact. Here, too, the rectangular forms remain mostly colored. As the years passed and Mondrian's work evolved further, he began extending all of the lines to the edges of the canvas, and he began to use fewer and fewer colored forms, favoring white instead.