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.



ma ke

ma ke : wu yong chinese fashion

ma ke

kolekcija iz 2008.

njen sjajan site za label wuyong:

mao jihong (sasvim desno) u društvu yamamota

Ma Ke

za portal 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


Winter - 2012 - 例外

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:

a ovo je intrevju koji je ma ke dala za portal

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.



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.


njih dvoje  u gorepomenutom italijanskom editorijalu








pročitati obavezno ovo:

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)

georgia (and yohji) on my mind…

o “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)

christopher springmann O’keeffe portrait

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

oh yes, everyone knows that, out of all designers, i like yamamoto the most. i watch, read, listen to… everything i find about him. then i let go it all, but i keep thinking how does he make clothes that even angels would like to wear… in which they would feel safe.

i think, i am almost certain that she would love to wear his clothes. she = georgia o’keeffe. i am convinced that she would wear it just like he imagined a woman obsessed with creation would wear it… after all, she has worn it. that’s it, right? fraternity of persons in space… paths cross for people of same energy at some point, even if they come from different periods…

yohji yamamoto, v&a museum, london, 2011

photo by dan budnik

georgia O’keeffe in santa fe, by photographer tony vaccaro for look magazine (1960)

georgia O’keeffe by laura gilpin, 1953

photo by john loengard, 1966

photo by cecil beaton

photo by yousuf karsh

photo by yousuf karsh

“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)

photo by george f. mobley, national geographic

photo by eliot porter

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)

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

photo by ansel adams 1937

charlize theron, mario testinous vogue sept. 2009, homage to georgia O’keeffe,  ghost ranch, new mexico.

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

uma wang

uma wang, vogue italia, photo francesco carrozzini

pored ziggy chen-a, old lyric…   šangaj sigurno treba posetiti i zbog nje (kada je reč o modi). uma wang. ona dolazi i osvaja. svet.  obrazovala se i na istoku i na zapadu. studirala je modni dizajn u šangaju i na central saint martinsu u londonu. i ne mogu da odolim da ne ponovim ono što je na italijanskom neko podsetio na napoleonove reči da kada se kina probudi ceo svet će da drhti. a autor sa  italijanskog modnog portala mudro, sa one lepše strane pogleda na svet, prokomentarisao da se ne drhti samo od straha…

uma wang je verna tao filozofiji, ponosna na svoje kineske korene, dobro upoznata sa kulturnim nasleđem kine, svesna da pripada jednoj od najvećih kultura,  ali je itekako avangardna i otvorena. donosi svetu mode tako potrebnu svežinu, lepotu jednostavnosti i suptilnost. ona je istovremeno krhka i jaka, osoba snažnog identiteta. upoznata sa svim segmentima proizvodnje, od izrade, tkanja, do finalnog produkta. sama kaža da je za nju tkanina sve.  njeni komadi, tu me najviše podseća na yamamota, su puni slojeva koji  su tu da štite žensko telo od svega. i da donesu osećaj udobnosti, prijatnosti, lepršavosti, ali i osećaj samopouzdanja. ona sama i ističe da je yohji yamamoto njena snažna inspiracija.

tamno i svetlo. krhko i snažno. istok i zapad. jin i jang. to je uma wang. zaista veliko, novo ime u svetu mode. kaže da joj je cilj da stvori dijalog između odeće i tela, osobe koja nosi tu odeću.

white blog

“there was no fashion when i was a little girl, so i never dreamt about anything having to do with it. my parents did not really have enough money to buy clothes for me. every month, they only got paid 30 yuan (roughly $5) each from the hospital. i always remember getting old, second-hand clothes from another family in our village.”

“yohji yamamoto is my favorite designer. i always feel power from his designs. i love the feeling of his clothing. it’s very simple, but romantic — a different way to express passion.”  (iz intervjua koji je uma dala sophie friedman za wall street journal , njujorčanki koja živi i radi u šangaju)

njeno gostovanje na univerzitetu u bolonji

“a true feminine beauty is represented in moving like wind, and being still as water”

Uma Wang Long Cardigan - L’eclaireur

uma wang long cardigan

rođena je 10. maja 1973.  u šangaju. lepa, visoka… u slobodno vreme igra košarku!

“i try to do things my own way. i no longer look at shows. i try to be like a horse with blinders on, only looking forward”

uma wang za style zeitgeist

“we look at it, and do not see it; it is invisible.
we listen to it, and do not hear it; it is inaudible.
we touch it, and do not feel it; it is intangible.
these three elude our inquiries, and hence merge into one.
not by its rising, is it bright,
nor by its sinking, is it dark.
infinite and eternal, it cannot be defined.
it returns to nothingness.
this is the form of the formless, being in non-being.
it is nebulous and elusive.
meet it, and you do not see its beginning.
follow it, and you do not see its end.
stay with the ancient way
in order to master what is present.
knowing the primeval beginning is the essence of the way.”
–  translated by sanderson beck, 1996, chapter 14  tao te ching, lao tzu


uma wang u nyc  adam katz sinding

sa sajta tarde o temprano, bere tot

milano fashion week ss2014



za swatch je 2012. dizajnirala seriju satova. meni lično ovaj oduzima dah, zove se black dancing rose, limitirano izdanje od 777 komada!


baby alone in babylone

omg!! mislila sam da sam izgubila ovaj post. da ga je progutao web. pojela noć. i onda ga nađoh večeras! sa mog starog bloga na domenu kojeg više nema post o mojoj prijateljici dragani došen. o doš.dosh. kreatorki, stilisti, kostimografu…

Title #2

Photo: 2012 Sai Sivanesan

post na tom mom starom blogu je izgledao ovako:

prvo fotka na kojoj su serge  i jane. ne bez razloga.


pogledaj ulicu. bilo koju. toliko istih. sličnih. bezličnih. kao da im koja peva:

“ne pričam o stilu, ne pričam o ritmu,
ne pričam o stihu, nikako o stihu,
ja samo želim ovo da te pitam
da li ti znaš za neki drugi ritam?”

but, pogled na ono što je posebno, što je drugačije,  je nenadmašiv i gotovo fašistički dokaz da nismo isti. i kako je dobro što “isti” su većina.

i kakav bi bio svet prepun odlučnih kao aleksandar makedonski? genijalnih kao tesla. senzualnih kao audrey hepburn. samouverenih kao  mourinho. ekscentričnih kao warhol. seksipilnih kao norma  jean… shvataš šta želim da kažem?

listam “filozofiju mode” lasa svensena koju sam od nje dobila za jedan rođendan. a posveta kaže :- traži i dobićeš!

ona je u potrazi  posvećeno prevrnula pola zemljine kugle. čak je stigla da bude shanghai baby i kineze uči ono što je o modi i artu naucila od beograda, toronta i londona… i sve to baby alone in babylone.

lepa žena sa stilom, u majici, farmericama, gotovo uvek  bez šminke. spojila je svoje ženstvene haljine i muški, sasvim muževni dom garde. kao što je spojila je  francuski novi talas i engleski romantizam. kao jane birkin svoje engleske korene i francuski chik. beše tamo 12.10.2010. oko ponoći njena prva modna. u beogradu. a onda svet.

dosh. vrlo žena i vrlo devojčica. blistav osmeh i vera u čuda. (samo ko ima moodah, veruje u čuda, njena je omiljenija tvrdnja.)

njena majka ‘ladno može da citira majku jane birkin: “jane može, nakon svega sto je prošla da živi onako kako joj se sviđa. ona je veliki borac.

pogledaj kako samo zakucava ekser u telenorovoj reklami>

p.s. dd je sada kostomograf na filmu. živi u torontu.

jane birkin

Baby alone in Babylone, noyée sous les flots
De Pontiacs, de Cadillacs, de Bentley à L.A.
De Rolls Royce et de Buicks, dans la nuite métallique

Baby alone in Babylone, noyée sous les flots
De musiques électriques, de rock ‘n ‘roll, tu recherches un rôle
Tu recherche les studios et les traces de Monroe
Les strass et le stress, dieu et déesses de Los Angeles

Baby alone in Babylone, noyée sous les flots
De lumière, de poussières, d’étoiles éphémères
Tu rêves d’éternité, hélas tu vas la trouver

Baby alone in Babylone, noyée sous les flots
De tes larmes et le charme, de l’avenue du crépuscule
C’est le Sunset boulevard qui serpente dans le noir

Baby alone in Babylone, noyée sous les flots
De Malibu, petite star inconnue
Tu n’as vu que l’etoile de la police fédérale


ove dve fotke gore dragana u sopstvenim kreacijama

riba zvana vanda

profile dragana došen


george brown college of applied arts&technology, toronto
fashion promotion, central saint martins, london

favourite fashion moment:
nouvelle vague

jane birkin..ute lemper..kate bush…siouxsie and the
banshees..stereolab..cocorosie..squirrel nut zippers..grace jones..vanessa faitfhfull..the the..einstürzende neubauten..tom
waits..pj harvey..david sylvian..anita lane

jean-luc godard..luis bunel..ingmar bergman..jacques rivette..stanley
kubrick..fassbinder..antonioni..felini..wim wenders..andrei tarkovsky..sergei
eisenstein..jean vigo..françois truffaut..krzysztof kieslowski

kundera..thomas mann..ayn rand..bulgakov

modern art