a.f. vandevorst or question the heroic approach

bračni i kreativni par iz belgije (an vandevorst and filip arickx = a.f. vandevorst) išao je čak u peru po inspiraciju. znam da neko ko je iz perua zasigurno voli njihove kreacije – lily gatins. kada su se vratili kući izvukli su boje iz svog tog šarenila anda i nastala je ova kolekcija a/w 15/16.  neki kažu apokaliptična. ok. apokaliptična.  i eklektična. potomci inka, španci, kondori, veliki šeširi, beli prah, crne maske…, sve se to sjatilo u ovoj kolekciji. pitam špil “više od stotinu korisnih dilema” briana enoa i petera schmidta šta je ta kolekcija i dobijam odgovor “zaobilaznih strategija“: “preispitaj herojski pristup“. o, da, njihov pristup je i ovog puta herojski. i art. belgijanci i japanci imaju to herojstvo u pristupu modi. hrabrost da se ide bez kompromisa. umetnost građena na neprikosnovenom zanatu. makers & artists!

pitam se da li jan fabre zaluta u antwerpenu do njih… videla sam ih u istom filmu  koji je snimio dirk braeckman za louisa vuittona 2013.

***

married and creative couple from belgium (an vandevorst and filip arickx = a.f. vandevorst) went even to peru by inspiration. i know that someone who is from peru certainly loves their creations – lily gatins! when they returned home they got the colors from all this colorful andes and created this collection a / w 15/16. some people say apocalyptic. ok. apocalyptic. and eclectic. descendants of the incas, spaniards, condors , big hats, white powder, black masks …  that all flocked to this collection. i am asking deck “more than a hundred useful dilemma” of brian eno and peter schmidt,  what is this collection about and i’ve got a response “strategies oblique“: “you need to reassess heroic approach.”oh, yes. their approach is and this time the heroic. and art. belgians and japanese have that heroism in the approach to fashion. the courage to go without compromise. art built on the inviolable craft. makers & artists! i wonder if jan fabre in antwerp strays to them… i saw them in the same movie which was filmed by dirk braeckman for louis vuitton 2013.

#Aflagship prozorska instalacija u njihovom butiku koja izgleda zanimljivije od nekih izloga naših muzeja…

a.f. vandevorst

njihova revija/performance u belgijskoj amabasadi u parizu na pfw 1/w 15

a-f-vandevorst-008-1366

a-f-vandevorst-009-1366

photo by andrei zozulya davidov

Oglasi

hands, pina and georgia. and yohji

directed by lee yanor

i dalje ne mogu da zaboravim reči koje je izgovorio yohji yamamoto: “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.”  kakva oda pravoj ženskoj lepoti… a živimo u svetu koji je muški. nekako se potrude da nas svedu na dekoraciju. ili na nešto još gore. ne i yohji. volim ga i zbog toga. a o vezi između pine bausch i njega i georgie i njega već sam pisala. ovaj post je priča o njima dvema. i njhovim rukama. one su samo jedna tačka bliskosti (pob/ratimstva lica u svemiru, kao što tin ujević reče) između njih dve. sličnost njihovih unutrašnjih lepota…

prvo “portret” ruku georgie O’keeffe(1887-1986) koje je uradio alfred stieglitz. koji je prvo imao mišljenje slično yamamotu, ali je kasnije duh, talenat i uspeh koji je imala georgia postao preteško breme za njega, pa je zaboravio to što je nekad znao.

***

still cannot forget the words spoken by yohji yamamoto: : “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.” what an ode to the true female beauty… and we live in a world that is a men’s men’s world. somehow they make the effort to reduce us only to decoration or to something worse, but not yohji. i love him  because of that and about the link between pina bausch and him and georgie i have already written. this post is a story about the two of them. and about their hands.. . they are only one point of closeness (brotherhood of persons in the universe, as poet tin ujević said) between the two of them the similarity of their internal beauty …

firstly “portrait”of georgia o’keeffe” hands, which was made by alfred stieglitz, who firstly had a similar opinion like yamamoto, but later the spirit, talent and success that georgia had become a heavy burden for him, and he forgot what he once knew…

alfred stieglitz, hands, 1919

Alfred Stieglitz</p>
<p><br />
GEORGIA O’KEEFFE – HANDS AND THIMBLE

alfred stieglitz, hands and thimble, 1919

alfred stieglitz, hands and horse skull, 1931

 

O'Keeffe-(hands).jpg

alfred stieglitz, hands, 1918

georgia by alfred

“i wondered at my hand…my left one as i saw it on the last printed page of the last book…and my mind wandered to the prints of my hands… i moved to get up to look for them…no…the other hand reached for the book…. so i sat looking at the hand—then at them both…i’ve looked at them often today—they have looked so white and smooth and wonderfu …i’ve wondered if they were really mine…”

“my hands had always been admired…but I never though much about it.”

(georgia O’keeffe)

a sada pina bausch (1940-2009). primećujete li tolike sličnosti, pa i vizuelne između njih dve, dođe kao retoričko pitanje…

and now pina bausch. (1940-2009) if you have noticed  many similarities between the two of them , even the visual , and that came as a rhetorical question…

opet inserti iz filma “coffee with pina” koji je uradio lee yanor

and again clips from lee yanor’s movie “coffee with pina”…

photo by walter vogel

photograph: thomas lohnes/AFP/getty images

photo donata wenders

&  za kraj opet yohji yamamoto,  hands:

Un modèle de la collection printemps-été 1992, en hommage à Pina Bausch, présenté au Victoria & Albert Museum. (V&A Images)

yohji yamamoto s/s 2009 / doru covrig “hands”

don’t do that jacket • yohji yamamoto pour homme

post scriptum / georgia and yohji on my mind

post scriptum:

iliti pobratimstvo lica u svemiru (ponekad i na zemlji već)

završila sam današnji post i  shvatila da moram da dodam ovaj p.s. ona koja je slikala cvetove tako moćno, tako snažno, izjavila je da mrzi cveće. on koji stvara modu koja je bezvremena,  božanstvena, izjavio je da mrzi modu. ovo dvoje ljudi koji se verovatno nikada nisu sreli, ona je 1986. umrla, a njena japanska izložba bila je u tokiju (the seibu museum of art)  posthumno 1988. godine… ali, su očito, odvojeno delili toliko toga u svojim životima…

lepota dobrih energija…

***

post scriptum:

or  brotherhood of persons in the universe (and sometimes on the earth also) i have finished today’s post and i realized that I must add this p.s. she, who painted flowers so strong, so powerful, said that she hates flowers. he, who creates fashion that is timeless, divine, said that he hates fashion. the two people who probably never met, she died in 1986. and her japanese exhibition was in tokyo (the seibu museum of art),  posthumously in 1988… but, obviously, they separately shared so much in their  lives… the beauty of good energies…

( grey line with black, blue and yellow, georgia o keeffe)

yellow Calla, 192c

single lily with red, 1928

(iris, georgia o keeffe)

(georgia O’keeffe)

“i hate flowers – i paint them because they’re cheaper than models and they don’t move. ”

“i know i can not paint a flower. i can not paint the sun on the desert on a bright summer morning but maybe in terms of paint color i can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time.”

a flower is relatively small. everyone has many associations with a flower – the idea of flowers. you put out your hand to touch the flower — lean forward to smell it — maybe touch it with your lips almost without thinking — or give it to someone to please them. still — in a way — nobody sees a flower — really — it is so small — we haven’t time — and to see takes time, like to have a friend takes time …”

– georgia O’keeffe

a/w 2009

a/w 1988

Yohji Yamamoto 1995

a/w 1995

540x720

s/s 1998

s/2 2011

yohji yamamoto: i hate fashion.

 claudia riedel: from the beginning until today?

yohji yamamotoyes, i may be making fashion in the sense of craftmanship, but i hate the world of fashion.

claudia riedel: why do you hate it?

yohji yamamoto: 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 to 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 yamamoto

pobratimstvo lica u svemiru

-tin ujević –

ne boj se! nisi sam! ima i drugih nego ti
koji nepoznati od tebe žive tvojim životom.
i ono sve što ti bje, ču i što sni
gori u njima istim žarom, ljepotom i čistotom.

ne gordi se! tvoje misli nisu samo tvoje! one u drugima žive.
mi smo svi prešli iste putove u mraku,
mi smo svi jednako lutali u znaku
traženja, i svima jednako se dive.

sa svakim nešto dijeliš, i više vas ste isti.
i pamti da je tako od prastarih vremena.
i svi se ponavljamo, i veliki i čisti,
kao djeca što ne znaju još ni svojih imena.

i snagu nam, i grijehe drugi s nama dijele,
i sni su naši sami iz zajednickog vrela.
i hrana nam je duše iz naše opće zdjele,
i sebični je pečat jedan nasred čela.

***

brotherhood of persons in the universe – tin ujević

“do not be afraid! you are not alone! there are also others like you

 that’s unknown of you,  living their lives. “

georgia again again

georgia totto o’keeffe (november 15, 1887 – march 6, 1986) je ona koja neosporno odgovara opisu žene koji je yohji yamamoto dao:

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.”

o, da, pisala sam već o njoj i njemu, o konekciji u njihovom poimanju odeće. ona je volela pse, takođe. yamamoto, takođe, voli da slika… oboje oslobođeni klišea, oboje vanvremenski… autentični. ja bit tako volela da se yohji yamamoto posveti proučavanju njenog dela i života, njenih promišljanja, da tu nađe inspiraciju za neku buduću kolekciju…

ona je, što se mene tiče, jedna od najvećih ikona stila svih vremena. bez predumišljaja.

volela bih mesto za sebe kao njen ghost ranch. umbraculum. senovito mesto udaljeno od sveta, za razmišljanje i rad. koa što bi jan fabre rekao. i meditaciju.

“it takes courage to be a painter. i always felt i walked on the edge of a knife. on this knife i might fall off on either side. but i’d walk it again. so what. so what if you do fall off. i’d rather be doing something i really wanted to do.” (georgia O’keeffe)

***

georgia totto o’keeffe (november 15, 1887 – march 6, 1986) is one that undoubtedly fits the description of women what gave yohji yamamoto:

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.”

oh, yes, i wrote already about him and her, about their connection of their understanding of clothing. she loved dogs, too. yamamoto also likes to paint … both freed from clichés, both timeless … authentic. i would like that yohji yamamoto study her work and her life, her thoughts. perhaps, for a future collection … she is , as for me, one of the greatest style icons of all time. without premeditation. i would like to place myself as her ghost ranch. umbraculum. shaded place away from the world, for thinking and to work, as would jan fabre say. and meditation.

“it takes courage to be a painter. i always felt i walked on the edge of a knife. on this knife i might fall off on either side. but i’d walk it again. so what. so what if you do fall off. i’d rather be doing something i really wanted to do.” (georgia O’keeffe)

dole su fotografije koje je 1966. napravio todd webb:

fotogafije koje je načinio ralph looney:

fotografije koje je načinio john loengard 1967.:

Georgia O'Keeffe photographed on the roof of her Ghost Ranch home in New Mexico, 1967.

John Loengard—Georgia O’Keeffe with her rock collection

John_loengard_georgia_okeeffe_chows_2
fotografije koje je načinio dan budnik na njenon ghost ranchu u new mexicu 1975. :

“whether you succeed or not is irrelevant—there is no such thing. making your unknown known is the important thing—and keeping the unknown always beyond you…”  (georgia O’keeffe)

http://www.okeeffemuseum.org/her-houses.html

http://www.abqarts.org/content/artward-bound-santa-fe

when art meets fashion

salvador dali i elsa schiaparelli u tunisu, u hammametu

ok, reč “maker“, “dress maker” (btw, reč “maker” je lepa, tako sočna, puna…) draža je kreatorima. modnim. poriču sebe da nazivaju artistima i yamamoto, i rei, i mcqueen, i miyake… i poštujem da je svako u stanju da sebe definiše najbolje. ja na ovom blogu, jasno je svakom ko samo baci pogled, (uporno) potenciram, provodadžišem, navijam za ljubav između mode i umetnosti, uvek kada vidim da između to dvoje, mode  i umetnosti, postoji hemija, nešto više od simpatije, površne zaljubljenosti…. i da, volela bih da žive srećno do kraja života… mislim da ponekad  moda postaje umetnost (i) bez predumišljaja. uprkos poricanju.  jasno je i površnom posmatraču da postoji moda i da postoji industrija odeće. i da u modi su postojale coco chanel, ali na drugoj strani, u istom vremenu, u toj istoj modi  – elsa schiaparelli. obe sa porukama, ali neuporedivim. pogađaš, moju naklonost uživa elsa… dala je doprinos susretu mode i umetnosti ne samo zato što je sarađivala sa dalijem,  cocteauom i drugim umetnicima svog doba, nego i onim što je ona sama bila, stvarala, inspirisala druge, umetnike i one koji prave odeću – mejkerse.

mmada, možda sam u krivu skroz u svom viđenju odnosa mode i umetnosti. možda zaista moda i nije umetnost, ali da su u dijalogu kod onih koje sam na početku posta pomenula, to je neosporno.

svideo mi se izraz koji sam danas negde videla: “svesno projektovana utopija“… baš kao što su nadralisti žudeli pomirenje umetnosti i života.

 “fashion is born by small facts, trends or even politics, never by trying to make little pleats and furbelows…”
~ elsa schiaparelli

Man Ray, Hands painted by Picasso, 1935

fotografisao man ray, ruke oslikao picasso, 1935.

Made in Paris, France, Europe. Winter 1936-37 Designed by Elsa Schiaparelli, French (born Italy), 1890 - 1973  Black suede, red snakeskin 9 3/8 x 3 3/8 inches (23.8 x 8.6 cm)

nadrealistčke rukavice koje je dizajnirala  elsa schiaparelli, 1936.

yohji yamamoto je njene nadrealističke rukavice vratio u život kolekcijom  a/w 2013 

elsa schiaparelli, a u naručju joj je unuka marisa berenson, buduća glumica i ikona stila

east, old, new, shoes…

mene ove sandale opčinjavaju već duže vreme… stvorio ih je ukrajinski dizajner konstantin kofta inspirisan indonežanskom obućom u kolaboraciji sa inaisce (iza kojeg stoji jona sees). kofta je poznat po tome što se igra višeznačjem, oblicima, materijalima, namenama… on je onaj koji se igra i kombinuje naizgled nespojivo, ruralno i urbano, istočno i zapadno, grubo i nežno. i to je tako dobro (i) u ishodištu. gotovo da se pitate da li su predmeti koje prave upotrebni ili deo njegove art instalacije. mislim da je odgovor da su to delovi instalacije koji se koriste u svakodnevnom životu.

na njegovom sajtu stoji:

physics is the patterns of organic energy, all of which are dynamic, alive. mass is energy, so the subatomic world is always restlessly in motion. inert matter is full of motion when we look closely at it. the activity of matter is its essence. geometry is a construct of the intellect.

sea wood & leather InAisce x kofta

a danas sam otkrila ove  japanske papuče kujaku koje je dizajnirao takumu nishizaka. opet zavodljiv spoj starog i novog. i ostavlja bez daha. kujaku je iz tokija, ništa ne razumem šta im piše na  sajtu, ali znam da mi se jako dopadaju ova obuća. a  i odeća!

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i hurt myself today to see if i still feel

da su jun takahashi (1969), avangardni muzičar i dizajner koji stoli iza branda undercover” i slikar i reditelj michaël borremans (1963) dobra kombinacija mogli smo da vidimo na paris fw (koji je ubio ove godine).  sem toga, zaista mislim da su japanska i belgijska modna scena ono najbolje što moda ima da ponudi svetu.

kolekcija  se zove “hurt“. omg, kako je lako identifikovati se sa tom reči. povredili smo sebe, drugog, drugi je povredio nas, drugi je povredio druge, drugi nas povređuju, mi druge povređujemo…broj kombinacija je suludo neograničen. istorija naših tzv. ljudskih odnosa je istorija povređivanja. znaš to i sam. s vremenom se naviknemo na bol. čak ga i zavolimo. ovo povređivanje koje su priredili jun takahashi i michaël borremans zavolela sam na prvi pogled. pogledaj i ti:

fotografija sa instagrama koju je uradio sjajni kian zhang (old lyric)

portal “business of fashion” za juna takahashija je rekao da je “rulebreaker“. zanimljivo je to… taj rulebreaker ima kolekciju “hurt” koja usrećuje i one koji to mogu sebi da priušte i nas koji to samo gledamo. viva jun takahashi!

naravno, ova kolekcija i ovaj kreator pričaju sve vreme priču koju nam je i yohji yamamoto ispričao, priču o odeći kao o čuvaru. čuvaru koji čuva naša tela i naše duše od onih koji bi mogli lako da nas povrede. nas žene posebno. jun takahashi ima jednu kreaciju, providni beli mantil na kom je slika noža ispod kojeg model bezbrižno nosi haljinu sa cvetovima… na licima do kojih ne dopire tkanina modeli nose plastične maske kao štitnike i pomoć ako nam oduzmu dah. ili se može pročitati i kao mimikrija, modeli koji nose modele glume lutke. plastične. zašto? možda da bi se sačuvale od povređivanja… ili naprosto distancirali od sveta kakav je postao… ili su na putu do svog plastičnog hirurga da kupe 100 gr mladosti i povrede se i fizički, pa obuzdavaju svoje prirodne grimase lica… kakogod, jun takahashi nije prošao samo modnom pistom i nestao. ja sam zapamtila dobro njegovu poetiku. još razmišljam o njoj.

čuješ kako u 12. minutu kreće “hurt” koji izvodi johnny cash? i vidiš modele sa odećom punom staklenih krhotina? na onom komadu odeće koji je prvi do spoljašnjeg sveta! ali i do sopstvenih ruku… kako su se stvorile te krhotine? da li  su modeli prošli kroz staklo i ostali živi.

i da li smo modeli ili osobe? šta nas goni da pravimo od sebe modele? da li je tako teško biti osoba? ili je suviše lako biti model? pa, možeš na sebe da natovariš i taj besmisleno prenaglašen nakit?

 

michael borremans ©BELGA

michaël borreman, mombakkes 1

hurt – johnny cash

i hurt myself today
to see if i still feel,
i focus on the pain,
the only thing that’s real.

the needle tears a hole,
the old familiar sting,
try to kill it all away,
but I remember everything.

what have I become,
my sweetest friend?
everyone I know
goes away in the end.

and you could have it all,
my empire of dirt.
i will let you down,
i will make you hurt.

i wear this crown of thorns,
upon my liar’s chair,
full of broken thoughts,
i cannot repair.

beneath the stains of time
the feelings disappear.
you are someone else,
i am still right here.

and you could have it all,
my empire of dirt.
i will let you down,
i will make you hurt.

if I could start again
a million miles away,
i would keep myself,
i would find a way.