i’m shy and i always wear black

describe yourself…
i’m shy and i always wear black.

why do you like yohji yamamoto’s clothes?
yohji’s clothes create a mature ambience. i love the sense of cleanliness and purity that comes when people only wear black.

YUKIO NINAGAWA (1935), japanski pozorišni reditelj koji je postavio šekspira (jedan je od umetničkih direktora globe teatra) i grčke tragedije na japanskom…

medea, yukio ninagawa

Oglasi

mad hatter tea party

film “ljubavnik“,  jane march glavna ženska uloga, režija  jean-jacques annaud, (1992) po istoimenom romanu marguerite duras

“čudno je toga dana da mala ima na glavi muški šešir ravna oboda,meki pusteni šešir boje ružina drveta sa širokom crvenom vrpcom. presudna dvosmislenost slike je u tom šeširu. zaboravila sam kako je on došao do mene. ne znam ni ko mi ga je mogao dati. — nijedna žena, nijedna devojka u koloniji nije u to doba nosila muški šešir. a ni domorotka…” (ljubavnik, marguerite duras)

lena olin kao sabina u “nepodnošljivoj lakoći postojanja”philipa kaufmana po istoimenom romanu milana kundere

“polucilinder je postao motiv muzičke skladbe koja se zvala sabinin život. taj motiv se neprestano vraćao i svaki put je imao drugo značenje; sva ta znašenja tekla su kroz šešir kao voda kroz korito. i mogu reći da je to bilo heraklitovo korito: “nikad nećeš dva puta zagaziti u istu rijeku!” polucilinder je bio korito u kome je za sabinu svaki put tekla druga rijeka…” (milan kundera, nepodnošljiva lakoća postojanja)

volim muške šešire. više nego ženske. a ja sam žensko… kao mala stajala bih  dugo ispred ogledala isprobavajući šešire mog oca. a on ih je voleo. i danas vidim sajt brenda japansko-švedskog para,  “horisaki” i… ostanem bez daha. kako bih volela da imam jedan od njih. ti šeširi kao da su došli iz nekih davno prohujalih vremena, gotovo da osećam miris patine dok gledam njihove fotografije, šeširi ruralni, a kada ih horisaki san stavi na glavu to je  nedvosmisleno i urbano i rokerski. sve je rađeno ručno, od prirodnih materijala, sa velikim poštovanjem za tradiciju, švedsko selo i makotovo japansko poreklo. žive sa sinom u  malom mestu u provinciji småland na jugu švedske.

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makoto horisaki & karin linder  foto: ulrika bergström

pogledajte  corpus delicti  sa njihovog sajta http://www.horisaki.com (foto umetnik  jonas lindstrom):
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https://i1.wp.com/rodeo.net/filippa/files/2013/11/IMG_7273-1.jpg
ova sjajna fotografija horisaki šešira dole je sa http://www.jus.se:
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https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-ash3/t1/p403x403/1426278_556595474410823_136130464_n.jpgPhoto: #horisaki #2generation #hat
makoto i karin sa sinom
https://i1.wp.com/www.cheapmonday.com/highslim/img/swipe/makoto_swipes-05.jpg
makoto na delu
sledi odlomak iz intervjua koji su makoto i karin dali za antonioli journal:

what was your first fashion memory, and how fashion entered your life?

MAKOTO – i was born and grew up 80s-90s in japan and that time was very exiting for me to see different people with different fashion and styles. i got stuck on vintage because vintage is something you can wear and remain unique. chance to be alone with something. can make your own fashion. minimal details like how the materials wear and tare or how stitches are sewn. since then i always hunt for unique pieces.

KARIN – i grew up on a farm, outside a very small community. there was no fashion. then, i bought a stack of 80s fashion magazines at the local flea market and started sewing my own clothes. people probably thought i was crazy, but i was content.

M, K – fashion is all around us from when we are born. as you grow older you find ways to use fashion as a way to express yourself, but fashion mustn’t define you.

 could i please ask you to define your aesthetic vision?

M, K – our aesthetic vision has its roots in natural wear and tare. our hats are handmade and there lies our passion. we get inspired by the handicraft and by excellent materials. minimalistic details that gets people thinking. well made and carefully constructed pieces in contrast with brutal material manipulation makes harmony from which springs life and beauty. functional, inspired by streetwear with a luxury edge.

 

 

rick owens

rick owens (rođen kao richard saturnino owens 16. novembra 1962.) amerikanac u parizu. partner životni i poslovni čudesne michele lamy. kreator od kojeg uvek očekujemo rukavicu u lice. izazov. korak-dva barem napred.  urban. nepredvidiv. hrabro gradi svoju, samo svoju buntovničku estetiku. onaj koji rizikuje i ne plaši se toga. razbija tabue, jer ni nisu za nešto drugo. užasno dobar dizajner nameštaja. nema potrebe da prikriva stvari poput one da nije završio svoju institucionalnu art edukaciju, da je pre veze sa michele lamy bio u vezi sa jednim muškarcem (preko kojeg su se i upoznali)… jedan od najboljih. politički osvešćen. subverzivan. (još) jedna poprilično oslobođena osoba. razbija tabuizirani koncept nepristupačnosti visoke mode onima koji nisu po kalupu. ekcentričan u pozitivnom smislu.

spring-summer 2014  womenswear rick owens

u predstavljanju ove kolekcije u parizu rick owens je  angažovao 40 stepping dancerki iz afro-američkih koledža, našao ih je na youtube kanalu. njihov ples je pandan cheerleading plesu vitkih, zgodnih devojaka. njih 40 su različitih boja koža, obima struke, telesne građe, visine…  “odbacivši konvencionalnu lepotu, stvaramo sopstvenu”, rekao je owens. slavljenje različitosti i njene lepote. i bes na licima je deo predstave. ovo jeste bila predstava, više od običnog predstavljanja kolekcije. predstavljena je i rasa i pol. zluradi smatraju da se radi  tek o proširivanju tržišta na gojazne kojih je sve više posebno u americi, ali ja ne želim da verujem da je priča tako banalna, pošto ovaj dizajner to nije.  on slavi žene svih boja, veličina, oblina, nesavršenosti… lepo, dirljivo i hrabro.  i nalik njemu. a publika na reviji… pretpostavljam da nije imala uobičajeno ravnodušan izraz lica…

AnOther Magazine S/S14

photo: katie shillingford & matthew stone, another magazine, rick owensovi modeli

Katie Shillingford: I think it was very admirable that a designer with such a big brand, who is commercially successful too, had made such a brave choice. There is not enough of that in the fashion industry today, no one is brave enough to take a risk because everyone is worried about selling clothes. Of course selling clothes is the whole point but I do think we’ve lost the sense of ‘show’ and that is a real shame. I wanted to applaud this fearless move and celebrate women of all colours and sizes. That’s also why I wanted to show a lot of nudity, because for me it wasn’t just about clothes, it was about a really powerful message and putting that into print form.

What does Rick Owens’ work represent to you?
MS: I like collaborating with designers who have a creative vision that extends beyond just the clothes. Rick is an artist in that sense. He has built his own world and he finds various forms for its expression. There was a real fearlessness and sophisticated power to the Spring/Summer 2014 show, with the steppers, that moved me emotionally and intellectually. On the one hand it was positive, progressive and blew so many ugly and bourgeois constructs out of the water, but on the other it was still powerful and aspirational. There is a tendency, particularly within fashion, to associate progressive politics with a shutting down of fun or glamour. This show was proof that it is still possible to make potent political statements within an industry that is so often politically compromised and a part of the everyday problems that surround us.
KS: For me it was important the models we chose were different shapes, sizes and colours – all representing beauty in different physical forms. As we wanted to show a lot of skin within the story, the casting was the most integral part. The show was aggressive and fearless but I wanted to do something that had the attitude but that was also beautiful and showed a softer side of women. Matthew was the only photographer I could really picture shooting it and his work popped into my head as soon as we talked about the feature.

(another magazine, 21.02.2014.)

rick owens ‘ moody ‘ fall / winter 2014 – 2015 mens runway

rick owens za adidas

ovako ga je videla/predstavila sjajna sofia tchkonia:

it’s just fashion. i’m certainly not sacrificing anything, because i can’t think of anything more glamorous than working on making beautiful things.  (rick owens)

lou reed u kreaciji rick owensa, fotografija mikael janssona 2011. objavljena i u knjizi “rick owens”

knjiga izdata kod rizzoli-a, nyc, 2011.

iz knjige o ricku owensu koju je izdao taschen, 2013.

odavde

rick i michele, fotografija kate barry, nedavno tragično preminula kći jane birkin

michele i rick u veneciji na bijenalu 2013. 

rick i zebra katz za dazed&confused. btw zebra i michele lamy su snimili zajedno stvar“how do you feel”

njihov pariski dom. dakle, gotovo sve u kući je on dizajnirao, uostalom  radna deviza mu je:” ne kupujem, pravim.” maker.

lupita iliti zvezda je rođena

photo by chris pizzello/invision/ap

photos by lydia goldblatt for the telegraph magazine

ovih dana lupita  nyong’o je u centru pažnje medija, pre svega kao glumica u favorizovanom u trci za nagrade filmu steve mcQueena “12 godina ropstva”. ona sama nominovana je za nagradu oscar u kategoriji najbolje sporedne ženske uloge. i odjednom se stvorila prava pomama među fotografima, dizajnerima, stilistima za njom. lupita nas je sve opčinila svojom pojovom i stilom. sasvim sigurno je jedna od najbolje odevenih glumica u ovom momentu.

annie leibovitz za venity fair holivudsko izdanje iz marta 2014. fotografisala je sve ovogodišnje nominovane glumce.

vanity fair

w magazine

ona je i jedno od zaštitnih lica u najnovijoj kampanji miu miu

Lupita Nyong'o  Dazed Confused Feb 2014 001

na naslovnici dazed & confused magazine, februar 2014. photo by sharif hamza

živi u nyc, kenijska je glumica rođena 1983. u meksiku. školovala se u americi. samo što je diplomirala na prestižnom yale univerzitetu dobila je ulogu u “12 godina ropstva”. pre toga smo je videli u “brižnom baštovanu” pored ralpha fiennesa i rachel weisz. bavi se i režijom. njena majka je emancipovana i obrazovana kenijka koja ju je naučila da žena ne treba da se izvinjava zbog toga što je žena. otac joj je političar i univerzitetski profesor.

lupitin dokumentarni film “in my genes” o albinizmu u keniji:

Lupita Nyong'o cover story

lupita nyong’o u odeći miu miu, photography by sharif hamza, styling by robbie spencer, dazed&confused

vogue italia, februar 2014

new york magazine, februar 2014. photographs by erik madigan 

in style, decembar 2013.

“MY PUBLIC IMAGE IS PART OF ME BUT IT IS NOT ME. I HAVE NO ILLUSIONS ABOUT IT EVER BEING ME” (lupita)

ny fashion week, calvin klain revija, lupita, anna wintour i naomi watts

“Being considered a fashion star is wonderful… [i]t’s definitely a bonus thing.” lupita

interview magazine. juli 2013. photo by gregory harris, haljina valentino:

i najbolje odevena u diorovoj haljini na dodeli bafta nagrada 2014:

Credit: Samir Hussein/WireImage

dole su fotografije iz miu miu kampanje proleće/leto 2014,  inez van lamsweerde and vinoodh matadin:

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pozirala je i za  izdanje zima 2013. duJour magazina, fotografije steven pan:

thaddeus o’neil ili jedan poprilično oslobođen čovek

da budem iskrena za njega sam prvi put čula na sajtu style like u. ali, bilo je sasvim dovoljno da shvatim da je iz lige autentičnih  igrača, a ja vrlo držim do takvih.

modni dizajner koji je masterirao filozofiju. i piše! poeziju, kratku prozu, eseje…

surfuje na vrlo  ružičastoj dasci.

kreira stvari nalik sebi. od najfinijih prirodnih materijala, naravno. i dobrog kolorita.

otac  i suprug.

voli životinje.

i prirodu.

i istinu, rekla bih.

ključne reči, dakle  za njega:

filozofija sa naglaskom na ničea, žižeka…

POEzija

moda

šeširi, šeširi, šeširi i po koja kapa. i to složeni, pa nošeni jedni na druge. tako cool.( iako baš ne volim tu reč, ali ovde mi dobro došla.)

surfovanje

more

fotografija

crtanje

boje, boje, boje

glava koja  misli kako želi ona, a ne druge. glave.

kažem, mnogo zanimljiv tip taj thaddeus o’neil…

sa stile like u

"Surfing is not a sport. It's incantation and magic flight."

"Whether it's Neitzche or Spinoza, when you read, you sit down with someone who took the time to organize their experience into language."

njegov stan / stylelikeu

i još knjiga i njega samog:

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i opet stylelikeu

“I started out as an amateur and I want to remain one as long as possible. I love not knowing where I’m going,” he says. “I love folding a hat made of Japanese straw in a new way and seeing where that leads. Like surfing, you never know when you’ll end up in a new place.” (man of the world)

razgovor za not vogue  (maskirana osoba je, naravno, steve oklyn) o efektima korporacija i novca na modu i svet u celini.

njegov esej u hobo magazinu. (kao i not vogue i hobo magazne je, btw. pažnje vredno mesto)

My wrists are rivers my fingers are words… I was nineteen or twenty when the photographer Bruce Weber turned me onto Charles Bukowski with some pieces from Notes of a Dirty Old Man. It made an impression but it wasn’t until a few years later that I really found him. An Australian girlfriend and I were renting a place on Glasgow Avenue in Bondi from an Argentine with a small but very good library. Unfortunately it was all in Spanish. All but The Last Night of the Earth Poems by Charles Bukowski. In the original Black Sparrow imprint of John Martin. Despite reminding me of the away jersey of the Chicago Blackhawks it was a gorgeous looking book. I read it and read it and read it deep into the night, the cockroaches turning the kitchen counters a mass of trembling black, dissolving like an apparition when I flicked the lights on to fill my wine glass.

Living too long takes more than time… Ah yes, the friendly wine. Writing with Bukowski was a strictly Dionysian affair. Like Aeschylus before him, Bukowski was an innovator of contemporary tragedy. I was there in his chorus swaying madly. You are the sacrifice of this ritual, he always reminded you, fingering words into little origamic spasms of our profoundly pathological world. The task of the poet is to become other, to find a new way to live.

The sun slants in like a golden sword as the odds grow shorter… Unlike say T.S. Eliot and those of his ilk whose poetry by comparison is an elaborate game performed for the literati, Bukowski is a poet of the vernacular and anti-pastoralist par excellence. Basho, a 17th century Japanese poet and influence of Bukowski also wrote for the masses in everyday language. “As I look back over the many years of my frivolous life, I remember at one time I coveted an official post with a tenure of land and at another time I was anxious to confine myself within the walls of a monastery. Yet I kept aimlessly wandering on like a cloud in the wind… it is because I believe there is no place in this world that is not an unreal dwelling.” Bondi became my Austral Asian city of lost angels and the Last Night poems my first apprenticeship to the way. I had no papers and picked an old 10-speed bicycle with maybe three working gears from the garbage that I used to get to sites all over suburban Sydney where I worked a series of laboring jobs alongside Czechs and Irish and English and Greeks and Canadians. Whatever money was left after the rent I spent on booze and books and houseplants.

In the shadows of the rose… After the girlfriend I lived on the couch and then the attic when it became vacant of a fifty-something fille de joie who rented rooms to strapping young men for fifty bucks a week or something. The closest I ever got to living in a flophouse, an arrangement highly recommended by Bukowski. Looking back, it was all a grand role-play, a terrific mask that I wore for the dance of the word. And it was all that mattered. The word, as Hannah Arendt says, “reveals the meaning of what otherwise would remain an unbearable sequence of sheer happenings.” Bukowski instilled in me the heroic ambition to no ambition but the escape from the unbearable sequence of sheer happenings. Just you and the word. Oedipus in the lap of the Sphinx. You must open your wrists for it everyday.

[Text by Thaddeus O’Neil]

i njegova baš dobra  fotografija u hobo magazinu:

Maui / Photo by Thaddeus O’Neil

a na njegovom sajtu: http://thaddeusoneil.com

piše o njemu sledeće:

About

Inspired by the hobos of the sea and their poetry, Thaddeus O’Neil is American surfer chic. Premium playwear with aloha. Sincere, offbeat, and playful, the debut SS 2014 collection features brightly contrasting color-printed trunks and relaxed separates, and limited edition hand-dyed indigo kimono pieces for après-surf. Made by hand in New York City and Japan, each garment is of the highest quality construction and content using only the finest silk, linen, cotton, and pure Japanese indigo.

The Thaddeus O’Neil man understands through feeling and comes to know that true luxury is the touch of nature and real refinement born of our creative movement within it.

Keep it moving.

A Provisional Biographical Interlude

Thaddeus O’Neil did his Masters in philosophy and spent the next several years traveling, surfing, photographing, writing, drawing. Wherever he arrived – Africa, South America, Indonesia – he would be captivated by the local people, their way of being, and their dress. He settled in Australia for a spell. They call it lucky country and he found this to be true. He tripped over his love and delight there, the model Pania Rose. They live together in New York’s Lower East Side with their son, Cas. They have two dogs, Hemingway and Shirley, and a cat called Teddy Boy. He is a lifelong surfer of the beaches of Fire Island New York and surrounds, and his eponymous menswear line is inspired by this special relationship. His poems, short stories, and photographs have appeared in L’Uomo Vogue, Pop Magazine, Vogue Hommes International, Details, Cent, Hobo Magazine, and Riot of Perfume, among others. In addition to launching his debut SS 2014 menswear collection, he is presently at work on a mixed-media performance piece about genderless ghosts, shanties, ritual, and the movement of language and bodies in the sea.

The End

women’s tales

miu miu je u okviru projekta “women’s tales” okupila (za sada) sedam sjajnih žena reditelja: zoe cassavetes, lucreciu martel, giadu colagrande, massy tadjedin, avu du vernay, hiam abbas i so yong kim. svaka dolazi sa različite strane sveta. i to se oseća. ta lepota različitosti u ispitivanju odnosa žene, stvaranja i estetike.

1. prvi film “the powder room” miuccia prada je poverila zoe cassavetes. da, ona je kći johna cassavetesa (i glumice gene rowlands), ali je svakako svoja ličnost, glumica, reditelj, scenarista… rođena je 1970. u la. zvali su je muzom marca jacobsa. snimila je dugometražni film  “broken english”. u “the powder room” o intimi i ritualima unutar ženskih toaleta, tamo bez muških pogleda, o momentima pre pojavljivanja u spoljašnji svet… u filmu se pojavljuju  audrey marnay i sjajna caroline de maigret. sve tu raskoši  claridge’s hotela.

zoe cassavetes

zoe, sofia coppola i marc jacobs

2. muta by lucrecia martel

rediteljka drugog filma lucrecia martel rođena je 1966. i dolazi iz argentine. režiser je, producent i scenarista. član pokreta “novi argentinski film”. “muta” na italijanskom znači i nema, bez glasa, ali i transformacija, mada se nekada davno taj izraz koristio da imenuje čopor pasa… radnja filma je gotovo nadrealna, dešava se na brodu usidrenom na reci u paragvaju… likovi govore nekim nerazumljivim glasovima, prepoznaje se samo lepet krila leptira, zujanje insekata, ali ne i ljudski govor (tek pokoja reč koja dolazi iz slušalice telefona). možda zato naziv “muta”, a moža i zbog toga jer je miuccia prada pored političkih nauka (stekla je zvanje ph.d) učila  i pantomimu. uostalom, možda su žene iz ovog filma mutirana bića nakon neke katastrofe, zatečena na brodu koji se zove paragvaj i transformišu se na kraju u insekte… film možda parodira samu suštinu modne industrije… bezlični modeli na kraju ostaju bez odeće, lažnih trepavica…

lucrecia martel snimila je filmove: la cienaga, the holy girl, the headless woman… dva puta je bila nominovana za palmu u kanu, jedan od štićenika pedra almodovara producirao je dva njena filma.

3. the woman dress by giada colagrande

autorka trećeg filma giada colagrande je rediteljka sa ništa manje zanimljivim personalitijem. rođena je u italiji 1975.  supuga je willema dafoea. pored toga što režira, ona i glumi. bavi se i video artom, a snima i dokumentarne filmove o savremenim umetnicima. snimila je dokumentarni film “bob wilson: život i smrt marine abramović“, a sa marinom je sarađivala i na snimanju filma “the abramovic method”.

giada

Photo by Pierpaolo Ferrari

giada i willem /l’uomo vogue it., januar 2010.

i met my wife [filmmaker giada colagrande] on the street in rome in 2004. i knew of her because i’d seen her films and we had some mutual friends. getting married was very impulsive and romantic. we were having lunch and i said: “do you want to get married tomorrow?” i called up city hall and they said: “if you get here in the next couple of hours, you can register and then you can get married tomorrow.” so we ran down there. we married the next day with just two witnesses, our best friends: my manager and her editor. (dafoe o svom braku)

da se vratimo na “women’s tales”.  giada je snimila film “the woman dress”. u njemu se pojavljuje italijanska glumica maya sansa. odličnu muziku specijalno za film su pravile devojke iz ” au revoir simone”. veštice će od žene (maye) načiniti miu miu haljinu.

4. it’s  getting late by massy tadjedin

massy tadjedin je rođena 1978. u iranu, ali je odrasla u americi. studirala je englesku književnost na harvardu. scenarista je i reditelj. njen rediteljski debi je film “last night” sa keirom knightley i evom mendes.

massy tadjedin

film prati četiri različite žene (igraju ih aubrey plaza, gemma arterton, patricia clarkson i rinko kikuchi)  iz la i njihove pripreme za veče. muzika- sjajna zole jesus.

“we make our faces, our suits, our selves just a little more ready for wherever it is we’re going. fashion is never just the clothes. it’s our mood, our excitement for something, our expectations, our attitudes, our outlooks. managing those is often what getting ready is all about and that’s what our short tries to capture.” (massy tadjedin)

5.  the door by ava duvernay

ava je prva afro-amerikanka koja je na sundance festivalu dobila nagradu za najboljeg reditelja za film “middle of nowhere”. rođena je u kaliforniji 1972.

ava duvernay

avin film “the door” kao i prethodni filmovi, zapravo govori o ženskoj transformaciji. u njenom filmu vrata su simbol te transformacije, junakinja prolazi kroz njih onda kada je spremna da korača sama. simbol promene u filmu je i odeća, svakom njenom promenom pokazuje se kako je ta lepa tamnoputa žena (igra je gabrielle union) postaje jača nakon bolnog razvoda.

“the door in the film represents a pathway to who we are.” (ava duVernay)

Miu Miu Ava DuVernay The Door with Alfre Woodard

gabriellinu majku igra alfre woodard. film prati sjajna soul muzika, a pevačica goapele se i pojavljuje u filmu.

6. le donne della vucciria by hiam abbass

šesti i meni najzanimljiviji film je delo palestinske glumice i rediteljke rođene 1960. u nazarethu. nedavno sam je gledala u filmu “the visitoru” u kom je sjajno glumila sirijku koja prati svog sina od sirije do amerike i nazad.

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hiam abbass

hiam je sarađivala sa mnogim velikim rediteljima: sa speilbergom u filmu “munich”, julianom schnabelom u filmu “miral”, sa jarmuschom “the limits of control” etc. etc.

hiam abbass i julian schnabel

možda mi se ovaj film najviše dopada zbog atmosfere sicilije, muzike, boja, ritma, plesa, temperamenta… punoća strasti usred srca palerma, haljine na marionetama, haljine na ženama koje plešu, esencija života. haim je uspešno uhvatila  mediteransku ženu, njenu čulnost i ćud… i na kraju samo pitanje: ko  vuče konce?

“it sometimes occurred to me to have some contacts with the houses of fashion for the red carpets, but for me the important thing is the relationship that the clothes play in the creation of a character.
 for this short movie, it has been essential to find someone that is truly able to create the pupi’s clothing, in order to be realistic. at the same time, the girls that dance and wear the dresses by miu miu represent another side of the italian spirit, the style and elegance that are part of the italian mood. for me, to dress an actor is part of the character’s personality, so why don’t we shift this idea on the pupi, too, as they are a connection with acting, too, and with the stage. i love them.

how close do you feel to palermo, symbol of a mediterranean culture, as you are a mediterranean woman, too?
within its shops and streets, palermo includes that atmopshere of craftsmanship, of popular culture, that is shared by many countries that overlook the mediterranean sea. i have a special love for italian cinema, anna magnani has been the idol of my youth, and i can say i started being passionate about cinema when i watched the italian great master of neorealism: visconti, rossellini, de sica, pasolini. 

this series of short movies are focused on the world of women. do you think we can talk about “female” creativity?
i am not sexist when I think about creativity. a person is creative if he/she can express himself/herself, no matter what gender he/she belong to. i don’t like to stick a label on someone. maybe as we, the women, have been partially marginalized by history in expressing our creativity, we are now more careful and determined while showing and focusing on our ideas, also in the world of cinema. ( hiam abbass za vogue italia, august 2013)

“although there are cultural differences between sicily and palestine, i still find some similarities… just going around [sicily], i was shocked [by] how many references would bring me back to who i am. It felt like part of my culture is a mixture of this culture with something else that i live. it’s maybe between the orient and the occident in a way.” (hiam abbass)

7. spark and light by so yong kim

ovo je najnoviji film u ovom serijalu. premijeru je imao juče, 11..februara 2014. na sajtu miu miu.  tako da o njemu najkraće. režirala je so yong kim rođena u južnoj koreji 1968. sada živi u americi. na sundance festivalu nagrađena je specijalnom nagradom žirija za svoj debi film in between days. kao i u drugim njenim filmovima i u ovom je u centru pažnje dinamike porodičnih odnosa.

riley keough i so yong kim – photo by brigitte lacombe, vogue italia, 02/2014

pa, hvala miu miu na ovim filmovima o magiji mode i moći ženske (i ne samo ženske) kreativnosti! filmovi koji kritički slave ženstvenost u 21. veku.

umetnici i kostimi…

riccardo tisci  i rooney mara vogue, 2012, september

bolero,  opéra de paris, scenario marina abramović, kostimi riccardo tisci. koreografija sibi larbi cherkaoui and damien jalet, 2013.

“the music has such an intense feeling. i wanted the dancers to feel naked somehow. the costumes express two sides of me: darkness and romanticism. the dancers wear nude catsuits in illusion tulle embroidered with white lace forming a skeleton. they shed several layers as they dance just like the life cycle of animals or flowers losing their petals. they become these moving  skeletons, strong and fragile at the same time.” (riccardo tisci)

Bolero - Marina Abramovic, Sidi Larbi Cherkaoui et Damien Jalet

akram khan & kimie nakano

japanska umetnica kimie nakano radi kostime za već nekoliko predstava akrama khana.  kimie je btw prvo završila komparativnu književnost.  po dolasku u pariz studira modni dizajn i scenski kostim. uticaj zen filozofije na njen rad je itekako primetan. radila je i u nekim modnim studijima, između ostalog i za kenzo…

photographer jean-louis fernandez, iTMOi

gnosis

zero degrees, photo jean-pierre maurin

i naravno yohji yamamoto:

pogledati ovo:

http://bon.se/bonbon/do-the-yamamoto/

yamamoto & pina bausch

photo by nielsen omvik, cullberg ballet

“do the yama-moto”  photo by nielsen omvik via bon.se, 2013

andrea martini and luis alberto rodriguez from cullberg ballet dancing in yohji yamamoto.

http://bon.se/video/nielsenomvik-double1.mp4

les ballets russes

a pre svega toga, čuveni ruski balet sergeja đagiljeva (ballets russes) ! omg, ko je tu sve radio kostime! picasso, dali, matisse gončarova, de chirico…i svi ostali slavni saradnici muzičari, kompozitori, koreografi, plesači… najuticajnija baletska kompanija 20. veka!!

pablo picasso, parade (1917)

henri matisse, the song of the nightingale, 1920

matisse

henri matisse (seated) with leonide massine, ballet dancer and choreographer and a man in a bird costume for “the song of the nightingale.

giorgio de chirico, the ball (1929)

leon bakst, the blue god (1912).

natalia goncharova, sadko (1916)