Monthly Archives: Kolovoz 2014

ma ke

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

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

ona je, zaista, nešto posebno. istinski talenat.

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

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

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

 

 

ma ke

ma ke : wu yong chinese fashion

ma ke

kolekcija iz 2008.

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

mao jihong (sasvim desno) u društvu yamamota

Ma Ke

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

interview in december from hong kong

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

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

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

Buymedesign – TLm: What are your inspirations? 

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

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

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

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

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

 

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

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

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

IMG_1127

Winter - 2012 - 例外

www.mixmind.com

Autumn--無題木頭 - 2012 - 例外

Ma Ke

Spring - 2011 - 例外

Ma Ke Wuyong

Ma Ke Wuyong

tradicija sa juga kine koja je uticala na ma ke:

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

a ovde je i ceo film:

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

USELESS-1.jpg

Oglasi

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vertical ray of the sun

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

anh-hung9-9641-1403515523.jpg

dmoda.it

njih dvoje  u gorepomenutom italijanskom editorijalu

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pročitati obavezno ovo:

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

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

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

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georgia (and yohji) 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…

https://i0.wp.com/kwame-vf.s3.amazonaws.com/wp-content/uploads/2011/07/Yamamoto_BritishLandingGalleries_byABattista2.jpg

yohji yamamoto, v&a museum, london, 2011

photo by dan budnik

https://i1.wp.com/media-cache-ec0.pinimg.com/236x/99/34/98/993498256215ade9cfbf2a84cc9c4648.jpg

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

https://i0.wp.com/cdn.styleforum.net/b/b2/b2a85ecf_YohjiYamamotoSuit93a.jpeg

georgia O’keeffe by laura gilpin, 1953

https://i2.wp.com/38.media.tumblr.com/tumblr_llzo1493EE1qbbjpeo1_1280.jpg

photo by john loengard, 1966

https://wildsidefashion.files.wordpress.com/2014/08/5a4e8-yohjiyamamoto-vogueparis-feb1993-bymaxvadukul.jpg

photo by cecil beaton

https://i1.wp.com/thumbnail.image.rakuten.co.jp/@0_mall/jimu/cabinet/q13/031161-1.jpg

photo by yousuf karsh

photo by yousuf karsh

https://i2.wp.com/media-cache-ec0.pinimg.com/236x/dd/30/45/dd3045e1ab1ec185f246262bc6e1924c.jpg

“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

https://i2.wp.com/cdn.styleforum.net/3/35/350x486px-LL-353b121d_pg.jpeg

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)

https://i0.wp.com/media-cache-ec0.pinimg.com/236x/40/8a/d8/408ad8a6b60e5f1c716917dd1a818bd9.jpg

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

https://i1.wp.com/forums.pelicanparts.com/uploads15/painting_in_car1254711082.jpg

photo by ansel adams 1937

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

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hermann hesse style

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

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

yohji yamamoto

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

Hermann Hesse as a gardener

Hermann Hesse and his watercolor painting

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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 designcatwalk.com 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

Chinese-Clothing-Fashion-Designer-Brookyln

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!

 

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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 mojblog.rs 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

Photo

ove dve fotke gore dragana u sopstvenim kreacijama

riba zvana vanda

profile dragana došen

education:

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

favourite fashion moment:
nouvelle vague

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

film:
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

literature:
kundera..thomas mann..ayn rand..bulgakov

art:
modern art

sport:
yoga

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best-dressed serbian

1. nemanja radulović, violinist (1985 )

2. ana kraš (1984) designer, painter, model…

ana za mango

by garance dore

ana-kras-1

gd

vogue germany

 

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well-dressed strangers

kiko kostadinov

prvo sam otkrila njegov tumblr. shvatila da oboje volimo yamamota. onda sam videla da se veoma posvećeno bavi modom, ali i da promišlja veoma ozbiljno i odgovorno ovaj naš svet.  ovaj mladi čovek bugarskog porekla, završio je postdiplomske na londonskom central saint martins kao jedan od najuspešnijih postdiplomaca ove godine.

 “in my head fashion means to create something that no one have done and show your emotions/feelings/, or just your view over the world we/you live or want to live. it can be timeless(yohji) or always new(christopher kane). the designers who claim to be creative and design for “now” are boring and rubbish, they won’t go in the history because “now” its changing. sorry if i drove away from your question.” (kostadinov)

 

t i m e l e s s  yohji yamamoto

kiko kostadinov

timeless franz kafka

“don’t bend; don’t water it down; don’t try to make it logical; don’t edit your own soul according to the fashion. rather, follow your most intense obsessions mercilessly.”

 kafka

“i hate fashion. i am not a fashion designer; i am a dress maker. fashion design is based on trends and trends are like the air we breath, we influence it and are polluted by it. it shouldn’t be about “what’s next what’s next what’s next”

(yohji yamamoto)

 

“to be modern is to tear the soul out of every thing” (yohji again)

 

Yegwa Ukpo

yegwa ukpo

opet  tumblr com i opet oduševljenje!! kakav stajling ovog mladog čoveka.  perfektan ukus! nosi uglavnom yamamota, ann demeulemeester, raf simonsa… i to kako nosi!!! visok, lepo građen,  pomalo podseća na marvina gaya… zove se yegwa ukpo. moja iznenađenost je bila još veća kada sam otkrila da živi u nigeriji. u gradu lagos on i njegova supruga imaju zanimljiv concept store stranger  lagos koje nije samo mesto u kome se prodaje dobro dizajnirana muška garderoba, nego i mesto okupljanja ljudi koji vole umetnost, mesto organizovanja performansa, dešavanja, projekcija filmova, promocija knjiga, druženja, mesto koje obećava da će od stranca načiniti prijatelja….  najavljen je i skorašnji izlazak njihovog žurnala.

it’s weird talking about clothes! i always feel very self conscious about it unless i’m talking to somebody who is really into clothing, but to say a jacket can speak to you is bizarre to most people, but it really felt like that when i first discovered yohji yamomoto. it was like this is how i want to be dressed. it felt like he was what i’d been looking for since i was a teenager but didn’t know where to search. from there i just started picking up more pieces in that line, in that kind of aesthetic and started to really get into the idea of conceptual clothing. you know, the idea of clothing as armor or architecture. it appealed to me because it felt like more of who i am-i don’t wear suits or that kind of thing.

my stomach is getting out of control. so in the morning i wake up and do crunches, but i’m getting older now and it’s not working as well. i tend to be very conscious about that when i put on clothes so i prefer looser clothing so i don’t have to think about it as much. that’s one of my somewhat vain reasons for liking yohji yamomoto- he makes a lot of pants that you can wear really high up and your stomach has to fall basically in line with the pants. but generally speaking its something that i’m always conscious about every single day even right now i have to be like okay stop clenching it. but we do need to be more open about the relationship between fashion and our own bodies, i guess being less afraid to talk about our insecurities. we’re all human.

(yegwa ukpo)

 

 

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yohji. women. armor

 

so, from the beginning, i wanted to protect the clothes themselves from fashion, and at the same time protect the woman’s body from something – maybe from men’s eyes or a cold wind. i wanted people to keep on wearing my clothes for at least 10 years or more, so i requested the fabric maker to make a very strong, tough finish.

you say you wanted to protect the female body and your clothes often have a playful androgyny in them. should men and women be able to dress more like each other?

when i started making clothes for my line y’s in 1977, all i wanted was for women to wear men’s clothes. i jumped on the idea of designing coats for women. it meant something to me – the idea of a coat guarding and hiding a woman’s body. for me, a woman who is absorbed in her work, who does not care about gaining one’s favor, 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. a pair of brilliantly cut cotton trousers can be more beautiful than a gorgeous silk gown.

(interview for the talks)

yohji with pina

do you see yourself as her protector or provider?
maybe as protector. Sixty years have passed since my mother started working. japanese society is naturally very unfair to women. in japan, women are not human beings, for example when my mother wanted to borrow money from the bank, because she is a woman the bank people didn’t treat her well. so i started to watch the world through my mother’s eyes and naturally i realised i needed to protect her.

are there any other iconic women in your life besides your mother?
let me say i have three femme fatales; firstly my mother, secondly… the situation is very complicated so i cannot name her, but you can imagine…

one woman is not enough?
not enough, not enough. i have no desire for anything else. i have no taste for property. the story is more interesting when i talk about art. when i was a boy at primary school my teacher and my mother realised i was very good at drawing and painting. it came very naturally to me. so when  i stand up in front of art, whether painting, sculpture or architecture, i feel simply this is doing … in that way i don’t like to be influenced by art. i will always be interested in people.

which is more important to you, fashion or women?
women are important. first comes women, and fashion just follows.

why are women so special?
my mother is always there, i think it’s important for a boy’s mother to be there, always punishing, always checking. i always want to come back to the mother’s body.

i-d.vice 

with mother

”i think that my men’s clothes look as good on women as my women’s clothing,” said mr. yamamoto. ”and more and more women are buying my men’s clothes. it’s happening everywhere, and not just with my clothes. men’s clothing is more pure in design. it’s more simple and has no decoration. women want that. when i started designing, i wanted to make men’s clothes for women. but there were no buyers for it. now there are. i always wonder who decided that there should be a difference in the clothes of men and women. perhaps men decided this.” (ny times)

 harper’s bazaar russia january 2003. “people in black” charlotte rampling and yohji yamamoto, photographer : kay ogata

as a rule i like clothes that might be described as monastic. for years i have been addicted to yohji yamamoto’s designs. his clothes really suit me in their unfussiness.

charlotte for the guardian

marine landrot: weren’t you interested in fashion before?

charlotte rampling: yes, but i didn’t take a really close interest. i wore whatever suited me from different designers. when i discovered yohji, something strange happened. it was rather like joining a sect. i didn’t see many people dressed like this and i felt unique. yohji’s clothes are not slaves to fashion, you can wear them anywhere, anytime and yet they always feel avant-garde. you want to wear them over the eyears, you have to really live in them, understand them, learn how to move in them. he makes a perfect garment and then deconstructs it, giving it a personality, an identity.

marine landrot: have you got any clothing to which you attach special importance?

charlotte rampling: a pair of shoes. black schoolgirl shoes. my first pair of yohji shoes. i polished the leather ritualistically, i wore them with everything, i kept them for years. then, one day i bought a puppy and the puppy loved those shoes, perhaps even more than me. he literally chewed them up! i was sad for a long time and it made me realise the connection i have with yohji’s clothes. i would put those shoes on and away I’d go, confident in the way i felt. that’s Yohji for you. when i slip into his clothes, i feel a strong sense of identity.

charlotte for a magazine

 

patti smith in yohji yamamoto, april 1998 new york by richard avedon

donata wenders and yohji

yohji’s clothing has a huge effect on me. and on the models who show his work. i love to observe them backstage, while they slip into his dresses…

wim, my husband, introduced me years ago to y.y.’s fashion. ever since then, when i put on the first dress by yohji, his clothes have slowly taken over my closet, and not much else has stayed in there. i practically wear nothing else any more now, with the exception of my darkroom work coat.yohji’s clothing lets me become more of the person i want to be.

his clothes guide me, teach me, even give me the feeling of “i am taken care of”, they softly and steadily confirm my identity. in his clothes i feel i am always appropriately dressed for each and every situation. they are timeless and still up to date. i wear his dresses and trousers for 8 years now. none of them are worn out. on the contrary, i have the impression they become better with time, more part of my life. they are like different skins of myself and i have stories to tell about the time when i was wearing this or that piece.

the way yohji creates his clothes is full of attention for whatever piece he is working on. watching him, it never seems to be about himself or his taste. he follows the material and his intuition for women. i think that makes him and his creation so beautiful. i can’t wait for the next opportunity to be around him with my camera, as i had the privilege for this afternoon in january 2000 in paris.

 (donata wenders about yohji)

vmagazine.com

“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 


fashion sighs after trends. i want timeless elegance.

fashion has no time. i do. i say: hello lady, how can i help you?

fashion has no time i even ask such a question, because it is constantly concerned with finding out: what will come next?

it is more about helping women to suffer less, to attain more freedom and independence.”

yohji 

yohji / right

rules of style from yohji yamamoto

1. i believe that there are three conditions to a woman’s beauty. first, you must realize that not all women are beautiful all of the time. sometimes beauty comes on a subconscious level. when she is in love, or has met someone new and exciting, she shines. second, you must understand that life is unfair. beauty is something that, for some, must be worked at. the third condition is luck. some women can just be lucky.

2. my role in all of this is very simple. i make clothing like armor. my clothing protects you from unwelcome eyes.

3. color, for me, has too many stories wrapped around it. i like black, white, gray, and navy. like a uniform.

4. life is better for beautiful people. you can become lucky if you are beautiful, you can become rich. But there is no truth in this definition of beauty.

5. if you feel strongly about someone, go up to them. pursue what you want in life. why be shy about something like that?

6. you can tell what a woman is going to be like in bed just by looking at her. there is a feeling about someone that comes from experience. when you’ve seen it once, you will recognize it again.

7. fashion cannot make you sexy. wxperience makes you sexy. imagination makes people sexy. you have to train yourself, you have to study, and you have to live your life.

8. i love the back. a beautiful back makes a beautiful front. when you slouch, think about what happens to your front. you have to keep your back in the right position. this is where your spirit lies.

9. men’s clothing is about tiny details, and i hate that. i am very small and i look stupid in a perfectly tailored suit. i want to be able to wear things that don’t fit perfectly, with the sleeves far too long. i wish clothing came with no sizes at all. it would be much better that way.

10. the biggest mistake you can make in fashion is imitation. if we keep on like this, fashion will die. there was a time when i used to fall in love on the street every day. i would see someone with such a way about them or such a flawless item that i would have to say, “stop! please! that’s perfect.” that never happens anymore. everything is too similar. soon it will be only a t-shirt and jeans.

11. i don’t think we should try to make space our own. i believe that as modern people we should live in mobility. we should always be moving.

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