many of them

san sebastian, spain

MANY OF THEM is a limited edition publication of 1000 copies. Its aim is to offer a space for discussion in which creators can share their perspective about their own field, their languages and the problems they face in their everyday practices.

It originally started as a diary in 2008 and it keeps evolving into different formats. All the images and texts are produces in-house but we continue to learn from new external collaborations.

MANY OF THEM stands away from trends. Its purpose is to offer a haven where fascinating people can gather and timeless themes be addressed; to document the present and to become an archive for the future.

timeless

different

limited

away frim trands

each copy is uniquely numbered

many of them

many of them magazine
volume I: a diary in the strict sense of the term

A LIMITED EDITION OF 1000 COPIES
– THE STORY IN TEN CHAPTERS -
STEPHAN SCHNEIDER: SCIENTIFIC THEORY OF CULTURE / PELICAN AVENUE: THE LAST PART OF THE CYCLE FICTION / THE WHITE CAPE: SUSTAINING THE FUTURE / THE CREATION OF NEW WORLDS: RACES, TYPES AND ETHNIC GROUPS / RAF SIMONS: MATERIAL WORLD / ANTONY HEGARTY: VOICE ONE / BERNHARD WILLHELM: A PHOTOGRAPHIC TESTIMONY BETWEEN AND BEYOND SCIENCE AND ART / ELEONORA SALVATORE: MORE THAN A PRETTY FACE / SOPHIE AUSTER: GOOD BLESS AMERICA / HERMANN FANKHAUSER: THE MAN WHO FOUND THE MISSING LINK.
AND TEN BRANDS AROUND THE WORLD: RAF SIMONS, VERONIQUE BRANQUINHO, BLESS, COSMIC WONDER LIGHT SOURCE, ZERO MARIA CORNEJO, ZUCCA, BERNHARD WILLHELM, TOGA, PELICAN AVENUE, FABRICS INTERSEASON.
Hardcover, black and white, 184 pages.

many of them magazine
volume II: days of being wild

a magazine filled to the brim with fashion photography, writing, and interviews. issue 2 includes: COSMIC WONDER
COMME DES GARÇONS
ALAÏA
HANNELORE KNUTS
CHANEL
DRIES VAN NOTEN
YOHJI YAMAMOTO
Y-3
LIMI FEU
ISSEY MIYAKE
RICK OWENS
THEYSKENS’ THEORY
PELICAN AVENUE
ADAM KIMMEL
MISSONI
SWASH
UNDERCOVER
DIOR HOMME
LUTZ
MAURIZIO AMADEI
DANIELA GREGIS
PAUL HARNDEN
JEAN COLONNA
GEOFFREY B. SMALL
EATABLE OF MANY ORDERS
BERNHARD WILLHELM
ROSA MARIA
MAISON MARTIN MARGIELA
BLESS
CHRISTIAN ASTUGUEVIEILLE
ELENA OCHOA FOSTER
JAMIE STEWART
OWEN PALLETT
RAYA MARTIN
LUCRECIA MARTEL
ARIANE MICHEL
NICOLAS PROVOST
KIM KI-DUK
and ISAKI LACUESTA.
softcover, color and black and white, 600 pages.

 

 

many-of-them_motto-distribution_4

volume III

THIS MUST BE THE PLACE

560 pages

Softcover
Edition of 1000
2014

COSMIC WONDER
YUKINORI MAEDA
COMME DES GARÇONS
JUNYA WATANABE
ALAÏA
CHRISTOPHE LEMAIRE
SUSAN CIANCIOLO
CHANEL
KARL LAGERFELD
DRIES VAN NOTEN
SAINT LAURENT
YOHJI YAMAMOTO
LIMI FEU
ISSEY MIYAKE
YUSUKE TAKAHASHI
PELICAN AVENUE
JUN TAKAHASHI
UNDERCOVER
FINAL HOMME
MAURIZIO AMADEI
DANIELA GREGIS
PAUL HARNDEN
GEOFFREY B. SMALL
BERNHARD WILLHELM
HERMÈS
EATABLE OF MANY ORDERS
BLESS
MIGUEL ADROVER
ELEIN FLEISS
LAETITIA BENAT
GILLES CLÉMENT
RAYA MARTIN
OLIVIER ASSAYAS
RIRKRIT TIRAVANIJA
JOANA PREISS
CARLOS REYGADAS
COSTA-GAVRAS
MICHÈLE RAY-GAVRAS
NATHALIA ACEVEDO
ANDRÉS DUQUE
MIA HANSEN-LØVE
KHAVN DE LA CRUZ

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in goodhood

 

sarah-linh tran wearing christophe lemaire for many of them magazine

staff

antonio macarro, san sebastian.- photographer and editor in chief at many of them magazine

ANTONIO MACARRO STUDIO

http://antoniomacarrostudio.blogspot.com

Many Of Them Magazine

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lily gatins

ovde je kišno i sivo bilo proleće, pa leto, evo i jesen je takva… kriza, hipokrizija i ostalo, takođe sivo. ne vidim kada će sunce da zasija. ni stvarno, ni metaforično. ovde se ne pati baš preterano od stila, etike i estetike. lakše je videti trn u tuđem, nego balvan u svom. oku. dvorištu… ni korov da počupamo, a kamoli da zasadismo cveće…  ja sam ionako unutrašnji emigrant od kada sam svesna svog postojanja, pa živim u svojoj glavi.  kao mali nemo. in dreamland. in slumberland… i iz cyberspace prostranstava odabiram samo ona u kojima dobro sanjam. o, da, želim, jako želim da to što sanjam postane java, a da ovo što je java ne zalazi mi u snove…

lily gatins ima sofisticiran način sanjanja. i ne samo to, žena je od snova napravila jako dobru stvarnost. svoju. kao što je svoja od glave do pete. njena estetika je vrhunska. minimalizam. crno. hrabro. drugačije. inspirativno. pokretački…

čitaj njen le report i upoznačeš deo njenog sveta. a svet je njen. ona je zaista kosmopolita. odrasla u domenikanskoj republici, potom postala prava njujorčanka, a sada  sa mužem koji je karijerni diplomata around the world… prvo peru – lima, a sada beijing… to čime se ona bavi je više od mode. moda ionako podrazumeva nešto vremenski veoma ograničeno, sa rokom upotrebe jedva dužim od papirne maramice, ovo što lily živi i radi je esencija stila. ona je tastemaker. voli rei kawakubo, yamamota, rick owensa… ali i čitav niz kvalitetnih, neatabliranih mladih dizajnera, fotografa, arhitekata, umetnika uopšte… koje podržava nesebično, kojima daje prostor na svom le reportu. smatra da je odeća samo jedan od načina da izrazimo svoju ličnost, pokažemo kakva smo osoba, da nam stil daje samopouzdanje… kaže da ga kao dete nije imala, bila je premršava, sa razmakom između zuba, a u domenikani gde se rodila svi su nosili šarenu, šarenu garderobu, cvetovima preplavljenu nošnju. kada joj je deda umro obukla je crnu odeću i prvi put se u garderobi osetila dobro… od tada nosi crno.  čak i njeni sinovi vole crnu.

 

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lily gatins i sinovi martin i etienne. fotosi sa njene fb stranice, fotograf sui sicong

 

Lily Gatins & Julien Boudet.

lily gitans i modni fotograf julien boudet

lily i wataru bob shimosato, photo by jose miguel imagefolio

jorge ayala

na zanimljivom prostoru na mreži noircatcher.com stoji opis jutra lily gatins.

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lily & gabriel j. shuldiner (photo jose miguel compres)

“for me, wearing black is an expression of freedom and is the grounding of my personal aesthetic. designers like comme des garçons’s rei kawakubo, junya watanabe and yohji yammamoto introduced me to my real identity. and designers such as leonard wong, rick owens, gareth pugh, barbara bologna, aoi kotsuhioi, boris bidjan saberi, carol christian poell, iris van herpen, robert wu continue to speak to me in a fresh avant garde way. i have collaborated with designers and and continue to forge new creative partnership.” lily gatins

photo julien boudet

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lily gatins  i diane pernet, photo adam katz sinding

 

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bee and rog walker

“For me, it not just about taking a pretty picture. photography is my voice; the goal is to speak eloquently.” -rog walker

njih dvoje su fotografski street style dvojac sa ulica bronxa, rog i bianca walker ( bianca je poznatija kao bee).  prepoznatljiva estetika i kolorit fotografija, atmosfera,  njegove sokne jarkih boja, njena kosa, šeširi, poEtika i duh  skrivenih, sa margina, manje slikanih i turistima nepoznatih delova nyc, bronxa punog ritma, intenzivnog mirisa života i misterije… ljudi koje fotografišu mora da su njihovi, njihovi  susedi, poznanici, prijatelji, ljudi koji postoje i na čije postojanje ovo dvoje nisu ravnodušni, neretko su i njih dvoje sami na svojim fotografijama… ja sam ih prvi put zapazila na portalu koji slavi individualnost i autentičnost  stylelikeu (o kojem sam već pisala).

http://www.youtube.com/watch?v=aeCgBQWkAVk

sve fotke gore su sa  adrese beewalker.tumblr.com

fotografije iznad su sa sajta muške polovine http://rogwalker.com/

a ovo dole je film o njemu koji je snimio nick enriquez:

 

rog je sarađivao na  filmu “slumflower“(i uopšte sarađuje sa lifestyle sajtom  street etiquette), filmu koji slika njihov njujork.

 

 

rog i bee su objavili su knjigu svojih fotografija, “visual insights: outer borough, limited edition od 500 primeraka.

preuzeto odavde

a fotografije dole su sajta bevelcode.com, snimio  travis gumbs:

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Photo: What's yours? • #BevelCode

bevelcode.com  koji je sajt umetnosti brijanja, o stilu, jer je  mnogo više od sajta koji prodaje dobar proizvod, obožavam i zato što u podnaslovu/ objašnjenju sebe ima ovo:

BEVEL [BEV-UHL]:
where products and lifestyle
intersect to unlock a better you

 

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ma ke

omg, od kako sam danas otkrila da me ke postoji na ovom svetu ne mogu da prestanem da obavljam rudarsko-geološke poslove po internetu. kopam, kopam, kopam, a ne mogu da odlučim šta me od onoga što iskopavam više oduševljava. braćo i sestre, kinezi su (ponovo) tu. ovog puta “made in china” nije pojam za loš kvalitet i kratkotrajnost. ziggy chen, uma wang, ono dvoje genijalnih mladih ljudio oko old lyric… evo i ma ke, to je onaj najbolji spoj starog i novog u kineskoj kulturi, najbolji spoj istoka i zapada… osamdsetih su to bili japanci (i ostali, jer su kvalitetni), a sada su to na zapadu kinezi. ubeđena sam u to.

exception de mixMind 例外 je jedan od najstarijih avadgardnih kineskih modnih brendova. postoje od 1996. godina. iza brenda stoje bivši supružnici dizajnerski dvojac ma ke i mao jihong. ma ke ( (mǎ kě 马可) je 2006. pokrenula artističku etiketu wuyong. wuyong znači beskoristan. ona stvara od onoga što su ljudi odbacili, objekata i tkanina koje su postale beskorisne ljudima. (ona kaže: “u ovo doba teškog komercijalizma stvari koje ne postižu instant rezultate olako se proglašavaju beskorisnim. previše smo fokusirani na kratkoročni dobitak. korisnost stvari sada često se razlikuje od njihove dugoročne, prave vrednosti.”). to što je nekome olako postalo nepotrebni  ona posvećeno preobražava u neverovatne lepe nosive stvare. ma ke se, dakle, artistički bavi idejom održivosti u modi,  ali i njenom etičkom stranom. ona ima antikonzumerski odnos prema modi. povratak prirodi, poetski pristup življenju, briga o prirodi, o ljudima… anti-moda. koristi ekološki pristup u stvaranju, prednost daje ručnoj proizvodnji, naturalnom u stvaranju, sporom ritmu, verna je tradicionalnom načinu tkanja, veza, bojenja tkanine… i tradiciji uopšte, dajući joj novo ruho u dodiru sa savremenošću… rođena je 1971. u gradu changchu. školovala se u kini i naravno u londonu, na čuvenom central saint martinsu. kineska prva dama kada je putovala u rusiju nosila je exception de mixmind model i od tog momenta postali su veoma traženi, ne samo u kini. mislim da ma ke nije posebno preoduševljena zbog toga. prva wuyong kolekcija (“the earth”) debitovala je na paris fashion weeku, spring/summer 2007, a njena druga kolekcija za wuyong (qing pin) pojavila se na pariskoj nedelji mode 2008.  njen studio je u gradu  zhuhai,  južnoj obali guandong provincije. učestvuje u svim procesima stvaranja odeće… kažu da je njena radionica kao svetilište, mesto za meditaciju i rad… prepuno zelenila, mira, tišine, svetlosti… nerado se pojavljuje u medijima. jednom je nekom novinaru rekla: “ako ste pojeli ukusno jaje, zašto je potrebno da vidite kokošku?”

ona je, zaista, nešto posebno. istinski talenat.

2007. je dobila nagradu za najboljeg azijskog modnog dizajnera, elle style awards. 

u maju 2008. njen rad za etiketu wuyoming predstavljen je u londonu, u victoria & albert muzeju.

http://www.mixmind.com.cn/

 

 

ma ke

ma ke : wu yong chinese fashion

ma ke

kolekcija iz 2008.

njen sjajan site za label wuyong: http://www.wuyonguseless.com/

mao jihong (sasvim desno) u društvu yamamota

Ma Ke

za portal buymedesign.com dala je ovaj neverovatno zanimljiv intervju:

interview in december from hong kong

Buymedesign – TL magazine: You said that “Wuyong” (Useless) is not about fashion and cut. Could you explain the concept?

Ma Ke: Wuyong cares about the wearers’ inner feeling much more than the experience of appearance . It values the spiritual state of mind that the clothing could bring along, more than being “sexy and chic or pretty and elegant” . It is like the difference between western and Chinese painting: the western oil painting is fully filled with pigments on the canvas, while the Chinese water-ink painting leaves most space on the paper for further imagination . Wuyong is purely a self-expressing creation without any other purpose . The clothes are like the worn piece of dusty jacket that can present neither your prestige nor your good figure, but it carries memories through the ages .

Buymedesign – TLm: Could you describe how you work and the materials you use?
Ma Ke: I work with some folk craftsmanship practitioners from the remote countryside of southern China, and I love to create with original materials. We work in a natural and eco-friendly way, which is slow but joyful, similar to the lifestyle of our ancestors. I enjoy what hand-making brings along: a process of self-refinement, a fully devoted state of mind, the touch of the fabric texture, the color changing when the white shirt is put into dyeing . There is nothing astonishing; the work is happening naturally like the fruit falls when it is ripe .

Buymedesign – TLm: What are your inspirations? 

Ma Ke: Nature gives me endless inspiration . It fulfills your heart with all the niceness, so much so that you have a strong desire to share with others . I am also inspired by every ethnic group that has kept its traditional lifestyle and lead a rich spiritual life . They are still part of nature, with which they have kept an intimate relation from generation to generation . Relatively speaking, I am more familiar with Chinese and Asian culture, but what I care about, without geographic boundary, is the common spirit these generic ethnic groups are sharing .

TLm: Jia Zhangke’s documentary about Wu Yong showed footage from garment factories in Guangdong . Do you feel you have a social responsibility as a Chinese designer?

Ma Ke: As a designer, I believe that I have the three following responsibilities:

– Ecological responsibility (the responsibility to the future) . The designer must be responsible for any damage caused by the production process to the ecosystem . He must not work for purely commercial interests and to the detriment of the environment, and must preserve natural resources . The designer must also consider the recyclability of his designs in the interest of long-term sustainable development, and not create disposable products .

– Ethical responsibility (the responsibility to the present) . A designer’s sensibility and creativity should be used as a social role to raise awareness . They mustn’t simply be out to please clients . They shouldn’t over-design, instead they ought to express properly, and not provoke unnecessary desires and promote blind consumption in the pursuit of profit . The most admirable quality in the social role of the designer is honesty . You should not sell your soul for fame or profit .
– Responsibility to pass on cultural heritage (the responsibility to the past) . We are living in a world of the abundant wisdom of generations past, which we should protect and pass on to future generations, instead of cutting off the tradition in our own time . Our cultural inheritance is not to be put in museums, but to interpenetrate our daily lives, to revitalize old traditions through living creativity .

Fashion in Motion: Ma Ke Wuyong - Victoria and Albert Museum

Fashion in Motion: Ma Ke Wuyong - Victoria and Albert Museum

Fashion in Motion: Ma Ke Wuyong - Victoria and Albert Museum

Fashion in Motion: Ma Ke Wuyong - Victoria and Albert Museum

Photo: summer10

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Winter - 2012 - 例外

www.mixmind.com

Autumn--無題木頭 - 2012 - 例外

Ma Ke

Spring - 2011 - 例外

Ma Ke Wuyong

Ma Ke Wuyong

tradicija sa juga kine koja je uticala na ma ke:

2007. nagrađivani kineski reditelj jia zhangke snimio je film o njoj “useless“.( zhangke je dobitnik zlatnog lava u veneciji, zlatne palme u kanu, ove godine je bio član kanskog žirija…)

a ovde je i ceo film:

http://v.youku.com/v_show/id_XNzQ0ODI0NDA=.html

a ovo je intrevju koji je ma ke dala za portal ecofashionworld.com:

Eco Fashion World: Where are you now? Can you describe the environment that surrounds you as you’re answering these questions?
Ma Ke: Right now, I am in my design workshop, located in Zhuihai, a beautiful and peaceful city in Southern China. The workshop is embraced by shades of greenery and trees with hundreds of years of history. In the summer afternoon, you can hear the cicada singing and feel the gentle breeze coming through from the widow.

 

EFW: How did you get started doing eco fashion?
Ma Ke: Maybe I was born an ecologist. Since I was a child, I’ve loved being in nature, surrounded by animals. My first professional idol was the British female zoologist Jane Goodall when I was seven or eight years old. After reading the story of her orangutan studies in the African jungle, I was eager to become a zoologist like her. I’ve had many animal companions since I was a child, and now I am living with seven grown dogs and three new-born puppies in my workshop. Living with animals brings me a profound understanding of how close and interdependent human beings are with nature. It is very important for establishing my view of creation.

EFW: What are your design and artistic inspirations?
Ma Ke: Nature gives me endless inspiration. You should fill you heart with beauty in the first place, thus you will have a strong desire to share with others.

EFW: How do you operate your eco fashion business?
Ma Ke: I don’t think about ecology when I am doing my works. It’s already integrated into my blood; I follow my heart. I also never think about business, as life is more than business. There are fewer necessities in our life than we think.

EFW: Has the international recognition that you’ve received in the past years changed something for you?

Ma Ke: The change in me derives from my growth and exceeding my own limits, it comes from my ongoing thinking, practice and exploration. It has nothing to do with outside recognition.

EFW: What do you think about the production of fashion in China today? Will other designers be inspired to get into sustainable production in the short term, or do you think China has to go through the same cycle as western countries have in the 20th century?
Ma Ke: The fashion industry’s history in China is much shorter than that in the West, it’s only 30 years old. However, China has a rich costume and cloth culture. Our traditional wisdom should lead Chinese people towards a different development from the Western industrial pattern. We have seen the disadvantages that have been brought about in the industrial society; China doesn’t have to follow the same old way.

EFW: How would you describe the difference between your two collections, Exception and Wuyong?
Ma Ke: EXCEPTION provides everyday clothing, practical but not conventional, it’s like the fresh air. WUYONG is a way of sharing my thinking and understanding of the world, it’s soul-refinement.

EFW: Who would you like to see wearing your clothes? Do you have any style icons?
Ma Ke: Anyone who shares my values and who loves these cloths. I don’t have any style icons.

EFW: How do you see your collection evolving in the future?
Ma Ke: Let it be. I don’t make plans or figures. The value of WUYONG does not show on its own, but its benefit to society is my biggest satisfaction. There should always be some people who enjoy doing what is not profit driven.

EFW: Would you share any of your favorite sustainable tips?
Ma Ke: I admire vegetarians who practice earnestly for their self-cognition instead of some “concept”. They are sincere to themselves and others.

EFW: Is there anything else that you would like to share with us?
Ma Ke:
If you agree with me, please join in and make a difference. Words are meaningless in front of our actions.

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vertical ray of the sun

jedan od filmova koje mogu da gledam neograničen broj puta je “the vertical ray of the sun“. režirao ga je čovek koji najbolje na svetu slika svetlost i njene senke, tran anh hungh, rođen  1962. u vijetnamu, živi u francuskoj. njegova supruga je glumica tran nu yen-khe (1968).  videćeš je u skoro svim njegovim filmovima, a za “norvešku šumu” u kojoj ne igra bila je scenograf i kostimograf. ona ima tu posebnost lepote žene zanesene svojim unutrašnjim životom i onim što radi. kako je ovo blog o modi, postavila sam editorijal koji su njih dvoje uradili za italijanski magazin dmoda. fotografije crno-bele…ne znam ko je autor. samo to nisu njih dvoje. ja bih volela da ih vidim u odeći bi sledila njihov duh. u odeći yamamota, ann demeulemeester, comme des garçons, ume wang… nikako te štikle i ta klasična cipela… zavila bih u mekoću i jednostavnost. u odeću koja štiti kao anđeo čuvar. i dala da ih fotografiše oko sa više naklonosti i oko koje razume, oseća, njih i njihovu umetnost… tako bih ja.

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dmoda.it

njih dvoje  u gorepomenutom italijanskom editorijalu

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pročitati obavezno ovo:

http://www.nyu.edu/cas/ewp/hallidaytangled07.pdf

LC In The Scent of Green Papaya, and your first film, La Femme Marie de Nam Xuong, we hear the sound of airplanes, but we never see the bombs. Were you concerned that the elegance of your films would ultimately contribute to some kind of cultural amnesia that exists in the U.S. and France about Southeast Asia?

TAH What is perhaps necessary to understand is that I cannot adequately convey what I haven’t experienced, what I haven’t lived through. Right now, at least, I am not capable of rendering properly the war and colonialism. In a certain way, I’m really not there to remind people, to remind the French, for instance, that they have raped Vietnamese women; or to remind the Americans that they have burned certain Vietnamese villages. Others can do that, or perhaps I can do that later on in my career. Right now, it’s important to create this base that I mentioned. To give a daily life to a people. And I think that against the backdrop of these people who have now been humanized and have a daily life, one can understand the atrocities all the better. I grew up in France, and yet I wanted people to have at their disposal a body of film about Vietnam. And yet I found that there was no cultural foundation for that heritage. If a Japanese filmmaker wishes to make a film about Japan, he or she has recourse to a ton of people: Ozu, Mizoguchi. I have this problem of a lack of cinematic heritage behind me. I had to make a film that was a departure to something. Fundamentally, I guess you could say that I made a film for nothing: just to create artificially and pretentiously a cinematographic past for myself. Perhaps it only elucidates things for me, but I’m very attached to this idea. Since it’s not really clear to me right now, I hope that by making other films, if I have the opportunity to do so, this idea will clarify itself as I go on. It’s quite possible, I’m not sure, that my next film will be a very violent film. But if you only knew me through that violent film you wouldn’t have a good idea of Vietnam or of me. It would be just as though you only knew Japan through Mishima. (intervju za bomb magazine)

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georgia (and yohji) in my mind…

 “for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.”  (yohji yamamoto)

georgia o’keeffe (november 15, 1887 – march 6, 1986)

 

o, da, znano je već da od svih kreatora najviše volim yamamota. gledam, čitam, slušam… sve što na netu mogu da nađem o njemu. onda pustim to sve, ali i dalje razmišljam kako uspeva da stvori odeću koju bi i anđeli poželeli da nose…

mislim, gotovo sam sigurna da bi ona volela da nosi njegovu odeću. georgia o’keeffe. uostalom, već ga je i nosila. to je to, zar ne? pobratimstvo lica u svemiru, što bi tin ujević rekao…

http://kwame-vf.s3.amazonaws.com/wp-content/uploads/2011/07/Yamamoto_BritishLandingGalleries_byABattista2.jpg

yohji yamamoto, v&a museum, london, 2011

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http://wildsidefashion.files.wordpress.com/2014/08/5a4e8-yohjiyamamoto-vogueparis-feb1993-bymaxvadukul.jpg?w=591&h=817

photo by cecil beaton

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“why black? black is modest and arrogant at the same time. black is lazy and easy — but mysterious. it means that many things go together, yet it takes different aspects in many fabrics. you need black to have a silhouette. black can swallow light, or make things look sharp. but above all black says this: ‘i don’t bother you — don’t bother me!” (yohji yamamoto)

 

 

there’s something about black. you feel hidden away in it. (georgia o’keeffe)

 

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i think it’s so foolish for people to want to be happy. happy is so momentary – you’re happy for an instant and then you start thinking again. (georgia O’keeffe)

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“i think perfection is ugly. somewhere in the things humans make, i want to see scars, failure, disorder, distortion.” (yohji yamamoto)

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charlize theron, mario testino i us vogue u septembru 2009. homage  georgii O’keeffe, na njenom  ghost ranchu, letnjoj kući u new mexicu.

 

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hermann hesse style

hermann hesse, nemački nobelovac, pisac, slikar… / 2. jul 1877. – 9. avgust 1962.

kakav savršen stil. zar ne? nepretenciozna, udobna garderoba, prirodni materijali, odeća koja je pravi odraz onoga ko je nosi… odraz njegovog bića, odnosa prema životu, njegovih profesionalnih interesovanja, nikakva moda, već izrazita individualnost… svakako i istočnjački (pre svega indijski) uticaj, uticaj istočnjačke kulture, filozofije, ali i činjenice da su njegovi roditelji živeli u indiji. ubeđena sam da se yamamoto dopada hesseov način odevanja i kako je nosio svoju odeću, a ne ona njega…

yohji yamamoto

of the western philosophers, i have been influenced most by plato, spinoza, schopenhauer, and nietzsche as well as the historian jacob burckhardt. but they did not influence me as much as indian and, later, chinese philosophy. (hesse)

Hermann Hesse as a gardener

Hermann Hesse and his watercolor painting

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