haider ackermann – you live your life as if it’s real

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photo: haider ackermann in new york, november 2010

http://haiderackermann.be

po meni, haider ackermann je dizajner koji je sebe najbolje stilizovao. romantičarski, avangardno, stylish, nonšalantno, perfekcionistički, nomadski, mistično, poetski, divlje, smireno, dekadentno,dečački, muževno, aristokratski i klošarski… da sam muškarac volela bih tako da izgledam. zapravo i ja kao žena volela bih da nosim stvari koje on lično nosi. udobno, nabrano, sofisticirano, nemarno… sa utiskom spremnosti i za gradsku vrevu i za oluju u pustinji. za ostanak i za beg. sa osećajem slobode… razigrano…

i wanted to give women the luxury of just letting things go, of just being free.” (haider)

rođen je 1971. u kolumbiji i već kao devetomesečna beba usvojen je od strane francuske porodice kartografa i humanitaraca koji su pre njega već usvojili jednu devojčicu iz vijetnama i dečaka iz koreje. živeli su na raznim mestima, u etiopiji, čadu, alžiru, francuskoj, holandiji… zamišljam koliko to mora da je bio šaren i uzbudljiv život… nije ni čudo što je takav kakav je… nadasve egzotičan!  svoj!

u antverpenu je upisao modni dizajn na prestižnoj kraljevskoj akademiji lepih umetnosti… nije završio studije, ali se 2001. uspešno predstavio na pfw.

“my private life is not that interesting. i just want to communicate with my défilé. i like reading though i barely have time for it. let me have a cosy dinner with my friends, leave me alone. let me dream. the day when i can’t dream anymore, that’ll be the day when everything falls apart.”(haider za joyce.com)

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i spent my childhood in africa and i didn’t know that you could make a living out of fashion until i was about 12. in algeria where i lived the islamic women wear a black shawl called a chador which was very mysterious to me and ultimately gave me inspiration. i would watch the women go by trying to imagine what they looked like beneath the shawl. the desire to understand what is beneath the clothing is the origin for my fashions and the reason why i became part of this world. unfortunately, no matter how much time goes by i still don’t come closer to understanding. (laugh). (haider ackermann)

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haider ackermann photo mauro gonzalez

you can only design what you know.” (haider)

i’m looking for a luxury that’s a bit négligé, that can be rich but doesn’t look rich. i would love for my clothes to be timeless, for people to build a sense of intimacy with them over time. i’ve tried over the years to tell a story, with each collection a different chapter. and you hope the reader will follow you and see where the novel’s going.(4 w magazine)

for me at the moment, a woman’s manly side is what’s sexy. and i’m not talking about androgyny. i think that a woman standing strongly, fighting to be desired, is very sexual.(w magazine)

Haider Ackermann en 2003

photo giovanni giannoni

when men are being admired, when all those men are immaculate and perfectly dressed, it makes me want to be one of them. i would like to be proper dressed and i would like to be exact and sharp in my appearance. but i am not one of those men. when i dress, i want to put the garment on and everything is here with me. it’s basically a part of who i am. i’m not an anxious person. i have to feel at ease to feel comfortable. (—)  when you see the violence that is going on in the world, especially nowadays when you see what is happening in tunisia and elsewhere, i think there is also a big urge for certain beauty. it puts our lives in balance. because otherwise, where would we be? it’s a gift nowadays, to escape with beauty.(haider, interview with eugene rabkin, style zeitgeist)

photo by roberto frankenberg

 what’s had the greatest influence on your career?
h.a. the erect posture of an ethiopian woman whose legs were so long she reached the sun. (no rules)

photo by jerome bonnet

obrati pažnju i na soundtrack!

and sometimes when the night is slow,
the wretched and the meek,
we gather up our hearts and go,
 a thousand kisses deep.

(leonard cohen)

Isssue Haider Ackermann - Cover

naslovna časopisa a magazin koji je haider ackermann uredio, koji je otkrio njegovu melanholičnu stranu

Oglasi

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. “

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.

words and fashion

šta su REČI modi?

na prvi pogled izgleda da bi MoDa i mogla bez njih…

ali, znače. joj. njoj. modi. reči.  izgovorene.  i one oštre, kritičke. i one  što omamljuju pohvalama. i one neizrečene. i one napisane. i to kako su napisane. kaligrafski… ili kako već…

ann demeulemeester, spring summer 2000 collection ‘woolgathering’. reči njene prijateljice patti smith izvezene po svili, pamuku…

Yohji Yamamoto showroom visit #oldlyric #yohjiyamamoto #paris #showroom #yohjiyamamotopourhomme #ss15

yohji yamamoto s/s 15

a magazine je broj 02 2005. poverio yamamotu.

Isssue Yohji Yamamoto - Cover

evo šta piše u uvodniku tog broja:

when yohji yamamoto wants to convey his ideas to the people he works with he uses words, not drawings.

each of his collaborations – with an artist, a photographer, a scenographer, a filmmaker, a choreographer – started with a conversation. sometimes, as is apparent from interviews within this issue, a few words were enough to realise beautiful projects, develop special friendships, build things that transcend the ordinary.

words are very important to yohji yamamoto. not the endless flood of words used to fill silences, but only those words that seek out the silence, that go for depth, ask questions, listen, look, confirm, words that give warmth, words that sing.
similarly, every new magazine in our series starts with a conversation. words that capture the essence of that conversation are used to sketch the rough outlines of the concept. these words are written onto a white sheet. every time we start with a blank page. every magazine is a new story.

and so this has become a magazine of many words. about friendships, about collaborations, about admiration. conversations with 20th century icons and the young turks of today. words of and about “soulmates”, who share the same fascinations, strive for the same quality, travel the same roads, seek the same silences.
yohji yamamoto. in our eyes he is one of last century’s most innovative designers. he has completely changed our vision on fashion. he has enchanted us and forever initiated us in a new beauty – the beauty that comes from within and that bears no relation to what we previously knew.

laura bradley, urednik u anOther magazine voli reči…

29. jula, u utorak, anOther magazine, laura bradley i design museum london organizuju wordfashionweek/day “words and fashion”.

laura bradley sa gostima provešće nas kroz priču o rečima, jeziku, tipografiji, grafologiji u  modi.

 

| kate moss | bruce weber |

freja beha erichsen reading with boots on books. by paolo roversi in “a woman of singular charm” for vogue italia, november 2007.

+++

a posle reči šta?

hussein chalayan kaže ovako, AFTERWORDS:

 za anOther magazinehussein chalayan je u intervjuu 18. avgusta 2011. rekao:

would you describe fashion as a language and a discourse, as barthes did it?
for myself, yes. but not in the general sense of the word. i don’t think there is critical thinking or discourse in fashion, like what you have in the arts, architecture, or design. there is a minority of fashion academics who look at it as a discourse, but they’re not part of the mainstream and they don’t, in my opinion, really have a very close relationship with the designers. a few of them do… in fashion, anything goes, anyone could be a designer, and i think that cheapens the industry.

the word “intellectual” was coined in a time of great political distress. does fashion have a political role? and in which way?
the body is the ultimate cultural symbol, whether you are empowering or dismantling it. how could it not have political implications? even if you don’t want it to, it does. because you are re-presenting body, or you’re re-packaging the body, or re-contextualising the body, it obviously has political implications, but i don’t really think that designers know when they’re doing it.

na ista pitanja suzy menkes je imala ove odgovore:

 

would you describe fashion as a language and a discourse, as barthes did it?
fashion is a language, particularly now, when nothing is forced on anyone, 
people, male and female, want to express themselves through what they wear. 
the whole subject of people who go to art galleries is particularly relevant
in that sense: they certainly dress in a slightly bohemian way in order to
 fit in with the surroundings, in order to send out in their language the
 idea that they are part of a certain club.

the word “intellectual” was coined in a time of great political distress.
 does fashion have a political role? and in which way?
there’s the obvious way that fashion is political in the way people dress in
 a political context: there is this immense farce in france about somebody 
turning up in a flowered dress to a meeting at the elysée, and of course, in 
england, endless discussions about what people wear, what women wear, more 
than men, but that also comes into the equation. i certainly think that 
fashion can be a political statement, which is much more important. the way
 that people dress makes them part of an army, dressed in their own uniform,
 determined to do something.