Monthly Archives: Ožujak 2014

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

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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

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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

 

 

 

 

 

 

 

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beatrice wood – jedna nezavisna žena-devojčica

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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

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beatrice, duchamp and picabia 1917.

beatrice o marcelu

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

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jules and jim, 1962 – françois truffaut 

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“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.)

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

 

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 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)

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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)

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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/

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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

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yohji yamamoto aw13, paris fashion week

 fall/winter 2012 

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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

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steve oklyn or freelance outlaw

steve oklyn, ko god on bio, jer to je samo pseudonim,  najzanimljiviji  i najautentičniji je bloger i modni kritičar danas. a možda se radi i o više osoba. kakogod, potreban je. onima koji još drže do suštine. i smisla. nije protiv mode. čak  je očito reč o vrsnom poznavaocu iste. poznavaocu koji  je protiv zaglušujuće, isprazne buke o kojoj priča i paolo sorrentino u brutalno dobrom filmu “la grande bellezza”, o ispraznoj buci koja preplavljuje i naše pojedinačne i zajedničke živote,  sve, pa i umetnost. on je glasno protiv korporativnog idiotizma i nehumanosti  industrije modne, (ali i svake druge, koja je prisutna i tamo gde ne bi trebalo da je bude, kao npr. užas koji se zove art industrija)  koja kao i ostale “blagodeti” liberalnog kapitalizma melje sve pred sobom zarad vrhunskog boga – profita. u to ime proizvodiće se tamo gde je radna snaga najjeftinija, a prodavaće se po cenama van granica ljudskog razuma i etike. u to ime svi tj. sve ćemo se upinjati da i u stotoj godini izgledamo kao izgladnele maloletnice i oblačimo se kao da smo klonovi jedni drugih. steve oklyn je krenuo duchampovim putem, kroz modu do anti-mode, putem dekonstrukcije koja će razotkriti laž.  putem koji vodi do lepote i dobrote. jer lepota bez dobrote je najružnija stvar.  verujem da je to nužno i da je tomoguće. zato se uvek obradujem kada vidim, čujem, pročitam… reči rei kawakubo, yohji yamamota, rick owensa… sećaš se, pre neki dan sam citirala ono što je rick owens rekao sofiji tchkonii: “i’ve lived the conventional life, and now it’s time for me to express my inner self. i don’t care if i don’t sell anything.  i can be poor.” 

notvogue.com

on, taj neko ko se predstavlja kao steve oklyn, je ovaj sa kapom:

“youth is the most significant aspect of how the culture breathes. the great experimental lab of global youth isn’t such an experiment anymore — spreadsheet guys run the global fashion industry and they do not care about culture. the media is a continuous propaganda: buy into our illusory and elusive world — our parties, our brands, our life style — and you have made it.” (steve oklyn)

not vogue

elisa goodkind sa stylelikeu kaže o njemu:

steve oklyn does not come to his blog unarmed. he is an encyclopedia of every meaningful, monumental cultural figure of the past 50 years (many of them he knows personally) whose frenzy to contribute something of consequence to the world far outweighed the end game of fame and profit. through not vogue’s eyes, my mind has been opened to what my heart has known: we need to wake up to our revolutionary purpose, believe in things larger than ourselves, stop consuming indiscriminately (what you buy is your vote), smite this me-me-me apathy, and scream for what matters — the ability to unite around our differences and come together to make a world that embraces counter culture, not over-the-counter culture.

idol magazine (btw, odličan magazin) objavio je intervju sa steve oklynom. florie mwanza je razgovarala sa njime. i naravno, ne otkriva nam njegov identitet. florie kaže da steve, po njoj,  intrigira svojim getsbijevskim prisustvom. i ona zaključuje da steve izuzetno dobro poznaje modu. ali da njegov blog-magazin za razliku od većine drugih koji kao da naređuju da konzumirate to i to od mode, budi intelektualnu reakciju. provocira. na pitanje odakle naziv “not vogue” otkrio je da se radi o reakciji na intervju carine roitfeld iz 2010. u kom je rekla da bira kome će dati editorijal u pariskom voguu: po principu: “you are vogue or not vogue”. pa, eto, steve je sebe deklarisao kao not vogue. iako otkriva da je on insider, neko ko je nekada vodio prilično javni život i da je u jednoj vremenskoj tački odlučio da iz toga izađe. samog sebe opisuje onako kako je japanski yakuza kum sebe nazvao –  odmetnikom freelancerom. natpisi na notvogue.com su vrlo satirični i provokativni. on koji se predstavlja kao steve kaže da se divi ljudima koji su kroz humor uspevali da saspu istinu,  umetnicima poput jonathana swifta i oscara wildea… i nema nameru da otkrije svoj identitet. nema naloge na društvenim mrežama, nema reklamne bannere, za razliku od većine modnih blogera koji otvaraju svoje ormane i mame sponzore on iznosi svoje stavove. kaže da mu je glavni motiv u blogovanju njegova sopstvena težnja da razume sebe, svoj pogled na svet i modu što je iskrenije moguće i da povede svoje čitaoce tim putem. not vogue je mesto na kom je vazduh čist, a dah slobodan.

“FASHION IS ONLY THE PARODY OF THE SIGNS OF FASHION” —Steve Oklyn

za detaljnije upoznavanje sa fenomenom steve oklyn i not vogue preporučujem intervjue objavljene u tack magazinu i naravno, poseti  http://www.notvogue.com.

a ako nisi video pogledaj “la grande bellezza”. mene je večeras razbio.

jep gambardella: this is how it always ends. with death. but first there was life, hidden beneath the blah, blah, blah… it’s all settled beneath the chitter chatter and the noise, silence and sentiment, emotion and fear. the haggard, inconstant flashes of beauty. and then the wretched squalor and miserable humanity. all buried under the cover of the embarrassment of being in the world, blah, blah, blah… beyond there is what lies beyond. and i don’t deal with what lies beyond…  (la grande bellezza)

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rei and rick or 2 wonderful people

https://i0.wp.com/hypebeast.com/image/2013/12/rick-owens-launches-miami-store-and-e-commerce-0.jpg

rick owens

rick owens u intervjuu koji je sa njime vodila sofia tchkonia:

I’VE LIVED THE CONVENTIONAL LIFE, AND NOW IT’S TIME FOR ME TO EXPRESS MY INNER SELF. I DON’T CARE IF I DON’T SELL ANYTHING. I CAN BE POOR.

and:

“you have to shut up and work, and work, and work all the time and produce, and produce, and produce. and the more you produce your character, or your talent, will emerge. for better or for worse your identity, your personality, your vision, whatever. as long as you work, and work, and work and make enough things to choose from you’ll be able to have an edit, you’ll be able to edit something that becomes who you are. it’s so simple. i mean you don’t have to like go to parties, you don’t have to meet the right people. you just have to like work, and work, and work, and get your stuff out there. you have to go out there and you have to show it to people. you can’t expect people to come knocking on your door, you have to show it. but you know kissing somebody’s ass isn’t going to really help that much. unless it’s good. your main thing is just to get your work out there, and to get a lot of it done, so you can pick the very best.”

https://i0.wp.com/blogs.vogue.mx/your-mother-should-know/wp-content/uploads/2012/05/tumblr_m3b2737Mcv1qf04rio1_1280.jpg

rei kawakubo

taken from dazed & confused issue 16, 1995.

paul smith interview with rei kawakubo:

PS: do you enjoy married life?

RK: i enjoy my life.

PS: do you have any children?

RK: yes, 425. they all work at comme des garçons.

 PS: what car do you drive?

RK: a big old japanese car.

 

the glamour issue may 1992 rei kawakubo:

GLAMOUR  IS  SURFACE  LEVEL  AND  NOT AN INDICATOR OF WHO YOU REALLY ARE.”

interview magazine: by ronnie cooke newhouse

RCN: how do you balance art and commerce and still remain free.

RK: feeling free inside oneself is being free.

RCN: is there something hopelessly bourgeois about being an artist? do you escape that by making something utilitarian, even if it is described as art?

RK: it is not in order to escape. there is surely worth in making simple things, and there is worth when utility is the concept. but art need not be bourgeois, necessarily. there is nothing bourgeois, for example, about hair artist julien d’Ys great creation for this collection, where hair, hat, and makeup become one.

RCN: fashion has become a big business, dominated by large corporate enterprises, like LVMH and the gucci group. you collaborate with this world, as you recently did with louis vuitton, but you also hold yourself completely apart from it. what is your attitude toward the dominance of fashion by these corporate entities?

RK: there’s no deep meaning. it’s just business. but even with business methods and ideas, it is necessary to have something new.

RCN: you don’t seem to want to be defined or aligned. how would you define yourself?

RK: i don’t think of myself as anyone special, and i would not know how to define myself.

RCN: an artist friend defined the difference between art and fashion this way: what an artist makes and sees stays as is; what a designer makes is like two objects—one is what is perceived in a shop and the other is how it looks in the mirror.

RK: is finding a difference so important, really? fashion is not art. the aims of fashion and art are different and there is no need to compare them.

Comme des Garçons X Ai Weiwei, 2010

Komentiraj

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julie delpy: people should care about who they are

but, do you KNOW who you are?

and…

do you WANT TO KNOW who you are?

do you want to know who you are? don’t ask. act! action will delineate and define you.

thomas jefferson

 photograph: patrick fraser

rick owens sa step igračicama koje nemaju savršen izgled, kozmetički brand nars koji je 68-godišnju charlotte rampling (1946) uzeo u najnovijoj kampanji za zaštitno lice, marc jacobs sa jessicom lange (1949)… daje nadu da smo, ipak, u stanju da prihvatimo sami sebe, takve kakvi jesmo. i da nam je važno da otkrijemo ko smo.  i da nismo svi poludeli i da ne umiremo od patnje što priroda se usuđuje da ne napravi izuzetak baš sa nama lično i učini da i u 60-oj godini izgledamo istovetno kao u dvadesetim. da  znamo da nismo  posle tridesetih otpisani, nepotrebni svetu,  nepotrebni sebi. ovo važi za oba pola. ne mislim da su tu muškarci u mnogo drugačijoj poziciji. obrasci koji su nametnuti i nisu ni za šta drugo nego da budu prezreni i odbačeni. ali, prvo moramo želeti da upoznamo sebe. i da radimo na sebi svakog dana. da budemo bolji ljudi i sebi i bližnjima… onda ćemo biti i lepši. evo šta kaže julie delpy (1969) za the talks:

as you age, have you ever felt pressure to change the way you look in order to still appear for roles?

it’s a weird obsession that I find very sad, because i think it’s okay to age. who cares if you get older? it’s not such a big deal. i’m not very attached to my looks either. i know it’s weird because as an actress i should care, but i don’t.

 so it’s safe to say you won’t be starting botox any time soon.

i’ve never done botox – i don’t want to do it, it terrifies me. maybe people think that i am crazy for not doing botox, but i don’t care. it’s a form of insecurity. i think botox is a form of madness. some people will say it’s great, but i think it’s a form of neurosis, of sickness. it’s the same kind of obsession as people who throw up to stay skinny. people shouldn’t be so obsessed with their appearance; they should care about who they are.

nars cosmetics je u vlasništvu shiseido cosmetics, a zove se po fotografu i make up artisti françois nars.

william eggleston and charlotte rampling  by juergen teller, marc jacobs advertising campaign S/S 07

fotografije koje je snimila jessica lange:

jessica lange i marc jacobs su sarađivali i prošle godine na editorialu za love magazine, fotografisao mikael jansson…

LOVE MAGAZINE- Jessica Lange & Marc Jacobs in Return To Oz by Mikael Jansson. Katie Grand, Fall 2013, www.imageamplified.com, Image Amplified

LOVE MAGAZINE- Jessica Lange & Marc Jacobs in Return To Oz by Mikael Jansson. Katie Grand, Fall 2013, www.imageamplified.com, Image Amplified (2)

dazed digital: why jessica lange?

marc jacobs: i love jessica, i mean i think we all love jessica. this was really about her and i feel like the film was a sort of gestural moment, where people would look and see what they wanted to see and hear what they wanted to hear. i asked her to recite ‘somewhere over the rainbow’, which has a lot of meaning for me and is something i’ve really gone back to. i mean, her voice i find almost narcotic, and there’s something so… it’s a bit like with me – there’s this hope and this wish and desire, but there’s always this sort of edge of melancholy or darkness. she’s just a strong woman who, again, i find so beautifully inspiring. what we really wanted from her was for her to be herself.

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