dream baby dream or brutal romance of human nature

svoju kolekciju za jesen 2014 yang li je nazvao dreamer. kaže da želi da ljudi veruju da je sve moguće. kao muzičku podlogu koristi springsteenovu stvar dream baby dream… dizajnira za samopouzdane, a emotivne žene. i muškarce koji se ne plaše da rame uz rame koračaju sa takvim ženama. za ljude koji imaju san. za individualce.

rođen u pekingu,, odrastao u australiji, školovao se i živi u engleskoj,  lansiran u modnu orbitu iz pariza, radi po celom svetu… bivši skater i košarkaš, emotivni panker… sve to se oseća u njegovim modelima. i azijski i zapadni uticaj. i estetizovani istočnjački minimalizam i snažni urbani touch zapada.

 “yes: i am a dreamer. for a dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world.” – oscar wilde

DSC_6214

sa  journal antonioli

yang li spring 2014

u ekskluzivnom intervjuu za journal.antonioli rekao je:

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

brutal romance of human nature.

where do you catch your inspiration from? and in particular what’s the main inspiration behind this spring/summer 2014 collection?

an intimate dedication for the women surrounding yang li’s world. all of whom are responsible for inspiring his work and life. in a seductive expression of modernity, attitudes of street and skate culture break couture atmospheres. the precious is questioned, then exalted.

 do you have any muse, a kind of woman/man you take inspiration from and whom you design for?

somebody with a story and a dream.

 

the dreamers, bernardo bertolucci

Oglasi

all we see and seem is but a dream within a dream

zephyrance lou, zephy lou stoji iza timeless carstva “old lyric” , vintage oaze tamo negde u šangaju, na adresi: west building, 368 shaanxi nan lu. 2. sprat! ova shanghai baby (rođena 1989. u šangaju) studirala je fotografiju u londonu. poznata je po autoportretima. i po dobrom ukusu. kolekcionar je bruka lepih stvari. zamišljam kako ću jednom ući tamo i polako razgledati stvar po stvar, od yamamota do rei kawakubo… i rastopiti se od sreće, pa će me morati lečiti lekari šangajski. a kada otvorim oči ja ću tražiti da me odvedu opet tamo, u shaanxi nan lu 368.

Zephyrance Lou portrait

zephy lou, night at the museum

Zephyrance Lou portrait

zephy lou, gulliver’s travels

Zephyrance Lou portrait

extra scenes -7

serija fotografija “extra scenes” je deo njenog projekta “inspiracija u snovima”. o njima kaže:the whole project is about building a dreamy, surreal scene by compounding entities. dreaming is my muse all the time, as it contains memories, fantasies and all kinds of poetic elements.”

njena mantra je rečenica edgara allana poea: “ all we see and seem is but a dream within a dream.”

a ovo je njeno šangajsko carstvo “old lyric”:

“old lyric” ima sve te prelepe stvari iz zadnjih decenija 20. veka: ann demeulemeester, comme des garcons, helmut lang, hussein chalayan, issey miyake, jean paul gaultier, junya watanabe, kenzo, horisaki šeširi, raf simons, romeo gigli, yohji yamamoto… neki komadi stoje iza stakla, kao vredni eksponati u nekom muzeju mode. sa respektom i ljubavlju.

http://www.oldlyric.com

 

 

 

 

 

 

 

beatrice wood – jedna nezavisna žena-devojčica

https://i0.wp.com/www.beatricewood.com/news/images_073111/b_wood_lecture_images.jpg

beatrice wood mama dadaizma, velika keramičarka, spisateljica, muza velikih umetnika, inspiracija james cameronu za lik rose de witt bukater u “titanicu“… živela je 105 godina (3. mart. 1893 – 12. mart 1998.). studirala slikarstvo, bavila se pozorištem, ljubav marcela duchampa, henri-pierre roché autor romana “jules et jim”  joj je slomio srce… mnogima je i ona slamala… 1933. počinje da se bavi keramikom pošto nije mogla da nađe savršeni čajnik za sebe… 1947. gradi kuću-atelje u mestu ojai u kaliforniji. u blizini njene kuće živeo je krishnamurti prema kojem je osećala veliko poštovanje. sada je u njenoj kući centar za umetnost.

pogledaj kako se odevala, kakav je nakit nosila… zar nije prava ikona stila? da je ari seth cohen pre 1998. imao svoj blog ona bi bila njegova neprikosnovena muza.

sa cameronom i glumicom glorijom stewart

https://i2.wp.com/ptb.anamontiel.com/PTB/img/AMonThePresentTense-BeatriceWood_02.jpg

beatrice, duchamp and picabia 1917.

beatrice o marcelu

https://i0.wp.com/quotes.lifehack.org/media/quotes/quote-Beatrice-Wood-the-second-time-i-was-there-i-215796.png

https://wildsidefashion.files.wordpress.com/2014/03/21e31-beatricewoodviagoodmemory.jpg

https://i0.wp.com/miniops.ioc.cat/2/img/img2.jpeg

jules and jim, 1962 – françois truffaut 

https://i2.wp.com/www.garthclark.com/images/BeaWood1.jpg

“well, then i met henri pierre roche, through duchamp. and i saw him — i’d forgotten, but in looking over diary notes i saw him several times. liked him very much. he was quite a good deal older than i was. i think he was under the french government at that time and i don’t really know what he was doing in new york. but he’d travelled extensively, even in india, which — he and marcel were the first two who had really bought the first picassos and brancusis. and they collected them. and later marcel, i think, influenced walter arensberg and sold him quite a few things. well, so roche was invited to dinner. and after he left my mother said, “you’re in love with that man!” well, i was still so shy and so innocent in spite of all my reading, i had no idea whether i was in love with him or not. it was possible. but the next time when he called he was very gentlemanly. i said, “oh, i will come to see you.” and he was a little taken aback, a young girl coming to see him. he said, “oh, no, no, i’ll come to see you.” and i said, “not at all. i’m shopping. i’ll be in your neighborhood.” “but I just live in a simple room.” “that’s all right, i don’t mind; i’ll be near there. so i went to see him and the — what is it? — the fat was in the fire. so that was the second mistake my mother made. but a very wonderful one, because i was very much in love with him and he with me. and we . . . i was also very much in love with marcel. and roche . . . .

PAUL KARLSTROM: it sounds like jules and jim.

BEATRICE WOOD: well, it was . . . he’s changed. i told him that to change the thing. and roche loved marcel, too, and i used to dream of marcel and roche. and roche would just laugh and say, “oh, you’re in love with him.” and the three of us, for i don’t know whether it was a year, a year and a half, were very close. and, of course, we put out the blind man together. then marcel introduced me to the arensbergs… (transkript intervjua sa beatrice koji je za   archives of american art vodio paul karlstrom, 26. avgusta 1976.)

https://wildsidefashion.files.wordpress.com/2014/03/3c6eb-6a011278fa47e428a40176154f682a970c-pi.gif

https://i2.wp.com/www.robertabooth.com/photography/Albums/Album4/Source/Beatrice_Wood_at_104.jpg

 

https://i2.wp.com/www.heatherarndt.com/wp-content/uploads/2013/06/20130601-155341.jpg

 beatrice wood center for the arts in ojai, california

Beatrice Wood and Anais Nin

beatrice i anais nin 1965.

“beatrice wood combines her colors like a painter, makes them vibrate like a musician. they have strength even while iridescent and transparent. they have the rhythm and luster both of jewels and human eyes. water poured from one of her jars will taste like wine.”  (anais nin)

ziggy chen

ziggy chen ključne reči:

-shanghai

– taoizam

– prve decenije 20. veka

– prirodni materijali (pamuk, vuna, lan, koža…)

– moda za muškarce (ali, te sjajne stvari rado bi ponele i neke žene)

– fuzija starog i novog

– fuzija ruralnog i urbanog

-fuzija avangardnog  i tradicionalnog

-fuzija istoka i zapada

– mandarini

ziggy chen

(  chinese : chen xiang) živi i stvara u šangaju. i jedan je od najpriznatijih kineskih dizajnera na zapadu.

“we have had 30 years of change, but i think aesthetics haven’t developed and changed that quickly in that time. there is still a long way to go, but now it will develop rapidly,” chen says. “many people have asked when i think china will produce someone like yohji yamamoto or comme des garçons. i think it will be someone born in the 80s or 90s. they experienced communication differently and have such a different concept and understanding of design. for one of my contemporaries, i think it would be hard.” (ziggy chen za šangajski talk magazine)

spring/summer 2013 i gore i dole

ziggy chen & his team hiroki osuka kian zhang | backstage image by dario ruggiero

u ekskluzivnom intervjuu za le paradox ziggy chen je rekao:

can you describe what defines your brand identity at best and how it makes it innovative and different from the other contemporary brands which follow a similar crafting path?

this is a difficult question for me. in my opinion ZIGGY CHEN must possess its own identity. maybe it would be more objective to let other people be the judges of our innovativeness. some says that our pride in showing our shanghai / chinese origins and our experimentation with fabrics might set us apart.

some of the references that clearly stand out from your garments are closely related to chinese tradition, is there any historical period you find particularly inspiring?

the song dynasty; the qing dynasty; the republic of china

in which way the chinese sartorial art and traditional costumes work up to build your perspective on clothing?

i believe that antique and handmade clothes have a soul, it touches me deeply every time i study these plain yet delicate stitches. antique costumes give me a lot of inspiration and also teach me the attitude of making clothing.

in your opinion, how the cultural heritage that comes from your eastern roots is combined with western influences in the final look of your designs?

my chinese roots have without any doubt a strong and direct influence on my philosophy and aesthetics. but the world today is different from the past, it is so much more closer and easily accessible through internet; at any time, you can see what is happening everywhere, even lifestyles are becoming more and more similar. what i’m trying to say is that the most important thing for a designer is to have his own individual design philosophy, while i will continuously seek different inspirations for each season, imbuing fresh and unique stories into each collection.

ziggy chen – a/w 2014-15

ziggy played guitar, jamming good with weird and gilly,
and the spiders from mars. he played it left hand
but made it too far
became the special man, then we were ziggy’s band

(david bowie, ziggy stardust)

aganovich or about this

u nasty magazinu anca macavei je napisala svoj osvrt na paris fashion week. izdvojila je pojedina imena: yamamota, rei kawakubo, yang li… i brand aganovich. sve pobrojane je nazvala osetljivim dušama… ja bih dodala, da ono što je gaudi radio u arhitekturi  oni rade u modi. kako je to dobrodošlo… taj izlazak iz zadate forme.

iza firme aganovich  stoje nana aganovich i brooke taylor (poslovni i životni partneri). o da, nana aganovich je aganović, potiče odavde. rođena je u beogradu, potom živela u danskoj, pa na central saint martin’s school of art & design london se obrazovala i evo sada i pariz i ostatak sveta je njen. onaj hrabriji i manje ukalupljen deo sveta, of course.

kod diane pernet

diane i nana

a kako su se upoznali nana i brooke?  poklonila mu je marinetijevu knjigu! na njihovom sajtu stoji da je nana dizajner, a brook narator. brooke je pisac, diplomirani filozof. on smišlja priče, a nana ih pretvara u kreacije.

nana: i studied an ma in fashion at central saint martin’s but i actually hated it. it was like a pocket philosophy. then after we fell in love we knew we wanted to work together. fashion was the connecting factor.

brooke:  personally, we are very into dressing. we love clothes. when we dress, we actually get treated better. it is a visual thing for other people. that’s why we wanted to create our own label. (the-dvine.com)

i ovo sa istog mesta:

i read you hate the term conceptual. why?

brooke: many people call our work conceptual but the term seems so dated. conceptual as far as we see it should only be the same as the term underground in music. u2 were a kick-ass irish underground band with two great albums in their pocket before they went massive. for me conceptual should be the same thing, which is that you try to rethink the current status to come up with something new. if you get it right, eventually it won’t be conceptual.

nana: we actually analyze what we think could be better, what might our problems be, and then come up with a better proposition that we believe in. our design is not about beauty.

uticaji:

-alexander mcqueen

-marinetti

-majakovski

-rodčenko

-anarhisti

etc. etc.

marinetti

rodčenkov fotomontažni portret majakovskog

 rodčenkova ilustracija za poemu majakovskog  ПРО ЭТО about this


na njihovom situ na stranici
lexicon naći ćeš ove pojmove i ljude: majakovski, rodčenko, borges, juan munoz,  lavirint, camera obscura, arte povera…

Nana Aganovich, Paris, Brooke Taylor, Jimmy Chan, Fashion, Brands, Style, London, Interview, Aganovich, Hong Kong, China

brooke taylor i nana aganovich

najnovije kolekcije zovu se MAGICAN i HERETIC.

magican

heretic

magican

ss14

ss11

brooke taylor za all women stalk:

what is your fashion philosophy? 
we used to apply the term ‘anarchy through elegance’ which was a play on coco chanel’s famous quote ‘elegance is refusal’ but this seems a bit dated now. particularly as when we started out no one was doing elegance whereas now it seems nearly impossible to open a fashion mag without someone hailing a return to elegance. i suppose fundamentally our intention is redefiniton. a woman’s greatest strength is her right to insist on seduction. if you only give her very obvious tools to do this then a shag is just a shag. if you arm her with something both strong and intriguing, something that questions definitions then she’s in a much better position to initiate the game.

pogledaj ovo, više od obične modne revije, zar ne? inspirisana slikama francisa bacona. i omaž konradu i njegovom romanu “srce tame”:

meni je bila zanimljiva i ova priča brooke taylora koju je ispričao kao gost bloger na brownsfashion.com o svom lečenju u igalu: http://www.brownsfashion.com/blog/4773/

yohji making waves, hats… or silencio por favor

milla jovovich in yohji yamamoto, photographed richard avedon 1998

rekoh već da volim šešire. muške. velike. jer lepi su i moćni. jer dobar su sakrivač. i donose tišinu kao dar. a  tišine je sve manje. kada ti ne vide oči. kada ti ne vide lice, moguće je ih je izbeći. a govor… to blah blah blah… lakše je čuti blagosloveni silenzio unutar sebe sa šeširom na glavi.

fw12

1996

a/ f 95/96

a/w 1985/1986

1998

photo by peter lindbergh 1998. vogue italia

yohji’s women wapping project bankside

yamamoto u berlinu, 5 CUTS | A VISUAL DIALOGUE is a video installation 

“i wear my hat as i please, indoors or out.”

walt whitman, leaves of grass, song of myself

https://i2.wp.com/img1.wikia.nocookie.net/__cb20130724222641/breakingbad/images/a/a6/Whitman2.jpg

yohji yamamoto aw13, paris fashion week

 fall/winter 2012 

urbani nomad(i)

http://www.11bybbs.com/

boris bidjan saberi

BORIS BIDJAN SABERI je po ocu iranac, a po majci nemac. rođen je 1978. u minhenu. radio u porodičnoj proizvodnji sa cipelama, a onda otišao u barselonu da studira i tamo i ostao. u njegovom radu oseća se i bliskoistočno  i evropsko poreklo. avangardni dizajner pod uticajem yamamota (odeća kao zaštita, oklop), rick owensa,  josepha beuysa (eksperimentisanje sa različitim materijalima i materijama, tretira kožu mašću, voskom, katranom, visokom temperaturom…)…

“mast je, na primer, za mene recimo bila veliko otkriće jer je predstavljala materijal koji je mogao izgledati vrlo haotično i neodređeno. mogao sam uticati toplinom ili hladnoćom i menjati je na za skulpturu netradicionalne načine, npr. temperaturom. tako sam mogao promeniti karakter te masti, iz haotičnog i kolebljivog stanja u stanje čvrste forme.” joseph beuys koji je u 2. sv. ratu  preživeo pad aviona zahvaljujući masti kojom su ga premazali tatari, a potom celog umotali u pust…

ovo je prostor na periferiji barselone (iz 18. veka) u kome on stvara:

brownbook magazine koji izlazi u dubaiju nazvao je borisa alhemičarem modernog doba.

u intervju za brownbook magazin  rekao je:

“i’m not interested in making easy garments but something that is simple, yet powerful and captivates attention”

“my aesthetic is in my veins and my vision comes from my different experiences in life. i like to do things that are perfectly constructed for the body. when i start a design, i erase my brain and go back to ground zero. i can be inspired by anything from a stone on the street or an artwork”

ključne reči za fenomen boris bidjan saberi:

– urbano

-sofisticirano

-eklektično

– alhemija

– zanatlija

-monohromatske boje

-eksperimentisanje materijalima

-nomad

-persija

-evropa

-hip-hop i skate kultura

-posvećenost

– koža

-opsednutost brojevima

fall/winter 2014 collection, “structurism”

le-21eme.com  spring/summer 2013 boris bidjan saberi

kolekcija jesen-zima 2013

odavde

what are you up to at the moment?
try to do my best.

would you agree on a subliminal ecology of ‘refuse’ in your work?
i do.

an anti-aesthetics?
no, a personalised aesthetics.

you don’t see yourself merely as fashion designer; would the terms craftsman and artist be more suitable for you?
i know i am not easy and that’s why i can’t name myself how or what i am. i love what i do, i try to do my best until it hurts.

during a presentation in paris, scrap wood sculptures were wearing your clothes. what is the story behind these ‘structures’?
creating an alternative body, an alternative model to show a garment or look.

can you name an artist you admire?
joseph beuys.

(the horst interview)

 i’m not particularly trying to be mysterious, but neither do i want to be commercial. it’s about finding the right balance in the way you showcase your work. I don’t do a lot of interviews, because i feel sick of people who are only fascinated with the designer. in the end, it is about my creations and i want people to appreciate my brand because of what i do and not because of what i represent. (boris za sleek magazine)

i ne mogu da odolim da ne pomenem i sjajan intervju koji je dao za nasty magazine, jesenji broj 2013.

anca macavei: abstract or concrete?
boris bidjan saberi: concrete. life is about experiencing, facing reality. learning
i’m definitely from this side and i need my ideas to be realized.

photography: eloi colom – boris bidjan saberi SS14