vega – the dream catcher

vega wang na blogu diane pernet

http://www.vegawang.com

vega zaishi wang je još jedan dragulj iz kine brušen na prestižnoj londonskoj central saint martins školi. njene kreacije su lepe i jednostavne. mislim na njene modele. odeću. mada je njena kreacija i ta čudesna kuća u kojoj radi u skrovitom delu beijinga. i onaj drugi njen butik u tom gradu. lepo pristaje ime “vega” toj devojci-dečaku, sićušnoj, kratke kose, sa tetovažama inspirisanim ruskim zatvorima… α lyrae. alfa lira. čak se i jedna njena kolekcija zove tako. prikladno. jedna od najsjajnijih zvezda na nebu iako udaljena od nas 25,2 svetlosne godine. i jedna od najsjajnijih zvezda na kineskoj modnoj sceni. (mada ih je zaista puno, ruku na srce. i to ne samo iz razloga odnosa kvantitet vs kvalitet.)

vega – alfa lira

rođena je 1985. godine u provinciji liaoning.  već sa 16 godina odlazi u london na školovanje. bila je jedno vreme asistent alexanderu mcqueenu. nakon okončanja studija vratila se u kinu. i zanosno i zaneseno spaja kinesku kulturnu baštinu i urbanost londona u svojoj minimalističkoj estetici. kao uzore u svom stvaralaštvu navodi dva imena: yohji yamamoto i ann demeulemeester. zašto me to ne iznenađuje?

btw, za sebe ovaj dream catcher kaže da je dressmaker.

VZW-4.jpgVZW-5.jpg

vega zaishi wang, “alpha lyrea” special collection 2012 u kojoj je uvela svetlost. kao sa te sjajne udaljene zvezde. i poeziju. blisko i daleko… i the creators project, intel, vice, elektro muziku zhang shou wang-a…  i igru. i sasašnjost i budućnost. i prošlost. jer ono što mi vidimo kao sjaj zvezda na vedrom noćnom nebu je tek njihov davni ugašen sjaj…

“…i kao zvezde ugašene, koje
čoveku ipak šalju svetlost svoju
te čovek vidi sjaj, oblik i boju
dalekih zvezda što već ne postoje…” (milan rakić, simonida)

vega zaishi wang’s s/s  2014 collection “in love again”, photos by  si ma liang

“ALPHA LYRAE” '12 SPECIAL COLLECTION

sa ovom kolekcijom vega wang poručuje da žena sa njenom odećom stupa kao pod punom ratnom opremom u bitku za svoju nezavisnost. baš kao sto je stupala princeza jieyou. ona od kineske žene želi da načini samosvesna, samopouzdana ljudska bića.

“ALPHA LYRAE” '12 SPECIAL COLLECTION

 

“ALPHA LYRAE” '12 SPECIAL COLLECTION

na fenomenalnom insajderskom sajtu “the secret quide for alternative beijing”   (uređuju ga zoetica ebb, daniel frei i shien lee)  možete videti kako izgleda njeno skrovito, a sjajno kao njeno ime, mesto u beijingu, na adresi: 63 yanyue hutong, dongsi nandajie, dongcheng district.

 

drugo mesto u beijingu gde možete naći njene modele je ovo u lafayette xidan arei. ja ne znam koje mi je zanimljivije. to je vega: staro i novo, istok i zapad:

 

Oglasi

Ultimus Romanorum

o,da,  teška su vremena. devalvacija vrednosti… osećaš i ti?

nedavno je tekst li edelkoort uzdrmao duhove. da li je moda kakvu smo znali mrtva? tema je, zapravo, mnogo šira. i to šire je, mnogo i značajnije. heh, bez mode bismo i mogli nekako, ali da li je svet kakav smo poznavali (i voleli) mrtav?svet vrednosti.  na žalost, odgovor je jasan. da, mrtav je. ili umire usred samrtnog hropca. svejedno.

mnogo bolje nego što bih to ja uspela objasnio je slavoj žižek u intervjuu za la review of  books. žižek kaže: „preti nam novi mračni srednji vek, u kojem će eksplodirati etničke i verske strasti dok će oslabiti vrednosti prosvetiteljstva. ove strasti su i pre vrebale u mraku, ali ono što je sada drugačije jeste njihovo javno izražavanje bez ikakvog stida.“

u daljem tekstu žižek elaborira svoju misao, a da se ja na svom fashion&passion blogu vratim modi jer sam o tome počela da pričam.  cenim da žižek baš i ne drži do iste.

novac je i na modnoj sceni odavno postao vrhovna religija. oltar kome se svi klanjaju i radosni prinose žrtve. cela priča se vrti oko toga kako zaraditi, zaraditi, zaraditi. koliko? pa, što više. kako? kako god je potrebno. cilj opravdava sredstva. propagiranje potrošnje radi potrošnje. money for nothing. nema više ni snobizmu mesta. svojevremeno je anna wintour tvrdila da neće dozvoliti da se kim kardashian pojavi na naslovnoj strani američkog vogue magazina. i šta se desilo? zato je krajnje licemerno što je nedavno u nyc na nedelji mode pravila gadljive face dok je kimino dete histerisalo. uostalom ni neki važniji ljudi van sveta eksplicitnog showbiza nisu gadljivi na pajtanje sa starletom, pa ćeš tako moći na webu da nađeš i njene fotografije sa ozbiljnim imenima iz sveta umetnosti, npr. sa marinom abramović. uvek se nađe neki seneka da opravda nerona. kako bi ponovo oborila internet kk je pokazala svoju golu pozamašnu pozadinu za „love magazine“ sve noseći „pradu“. da li je „pradi“ baš neophodno da potvrdi naslov onog filma? kako miuccia prada to povezuje npr. sa svojom kapmanjom „woman’s tales“ i vrednostima koje tamo plasira? kada smo već kod golih stražnjica istom sredstvu kao kim je pribegla i madonna nedavno. i to je opet propraćeno kao wow, kao hrabrost, kao potvrda ko zna čega. ili ne daj bože kao umetnički čin. a car e go.

mogla bih tako da nabrajam ohoho… a ne bih više. ne pričinjava mi zadovoljstvo.

i šta sad tu može da se uradi? da krene čovek u rat protiv pet milijardi ili koliko nas je već na ovoj nesrećnoj planati i izgine uludo? ili da se dostojanstveno drži svog sistema vrednosti, čuva ga od zaborava, od vremena…? kao ultimus romanorum.

ja sam za ovo drugo. a to drugo je npr. rad onih koji se ne prostituišu. ni zbog čega. ponajmanje zbog novca. zbog njih volim modu i pišem sa strašću o njoj. yohji yamamoto. rei kawakubo. issey miyake. ann demeulemeester. vivienne westwood. ima ih još, srećom. njih – poslednjih rimljana.

a kada dođe kraj jedne epohe, otvaraju se vrata neke druge. ja se uzdam u pobedu dobrote i lepote. i njihovu neuništivost. i rađanje uvek iznova i iznova. uprkos svemu.

yohji yamamoto, notebook on cities and clothes (wim wenders, 1989)

petrole:</p><br /><br /><br /><br /><br /><br /><br /><br /><br />
<p>rei kawakubo by irving penn for vogue march 1993<br /><br /><br /><br /><br /><br /><br /><br /><br /><br />

rei kawakubo  by irving penn for vogue march 1993

vivienne westwood

issey miyake

 

ann demeulemeester

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.



 

dresses, soul, madness, taste…

i saw dresses this morning in the farmyard at rochecorbon where i am shooting. they were hanging in the sun, side by side, like bluebeard’s wives, only lifeless. they lacked their souls, and the soul of a dress is a body.

— jean cocteau, diary of a film

 

elsa schiaparelli, cocteau painting

yamamoto & madness  f/w 04-05

fashion is only complete when it is worn by ordinary people who exist now, managing their lives, loving and grieving.

location:http://www.appliedaesthetics.org/index27.htm

 

black and fashion

ovde gde ja živim crna boja je simbol tuge, žalosti, bola, smrti. moj doživljaj crne je: dostojanstveni, elegantni, ponosni minimalizam. i naravno, ne postoji jedna crna, široka je njena paleta… a o njenom tretmanu kroz istoriju i na različitim stranama sveta, da i ne govorim… različiti smo… mi nekada, i mi ovde i  vi tamo…

japan fashion now – formalism and revolution : rei kawakubo and yohji yamamoto – in praise of shadows : symbolism of the color black by patricia mears

black has been the power color for many centuries in europe. for example, during the 1600s it was worn by members of the spanish nobility and their catholic hierarchy, as well as the burgomasters and protestant extremists of the northern lowlands. black, especially when combined with a billowing silhouette, moved among academics and monks, and widows and nuns, to signal scholarship, piety, and sexual inaccessibility. black robes, academic or clerical, all but erased the corporeal body. (note the similar effect the chador has on women in some islamic countries.) by the nineteenth century, it shrouded those in the arena of anti-establishment intellectuals. black clothes, especially if they were tattered, were not the uniform of the immaculately groomed dandy but rather that of romantic artists, the bohemians, and, a century later, the beatniks, and the punks.

Jaks.

kazimir maljevič sa studentima

the roots – the seed (2.0) ft. cody chesnutt

zinedine zidane and yohji yamamoto

diane pernet, uvek u crnom

rei kawakubo (photo by irving penn)

rick owens and michele lamy

 ann demeulemeester and patti smith

boris bidjan saberi

maxwell osborne, public school, black apple

rog walker (photo bee walker)

bee walker

knjiga o crnoj boji, prevedena i na srpski, izdanje službenog glasnika, 2010

mišel pasturo podseća da se reč “boja“ – color vezuje za latinski glagol cerare – sakriti, obuhvatiti, zataškavati.  “boja je ono što krije, pokriva, obmotava. boja je materijalna realnost, sloj, druga koža, površina koja skriva telo. na to, uostalom upućuje i grčka reč khroma (boja) od khros – koža, telesna površina; ili u nemačkom jeziku farbe (od starogermanske reči farwa – oblik, koža, omotač).” (ivana maksić u časopisu “polja” o jednoj drugoj knjizi mišela pasturoa)tako nekako i yamamoto misli o ženskoj odeći: 

 ”my favourite method is hiding body, covering body. for me, it can be male or female, but when people are wearing something baggy they look so sexy. because i imagine what’s inside. so like today, short hotpants and, this like (makes a gesture of a low cut top)… young people are showing too much. it’s so direct. no sexual attraction. so please hide.”

                                                                                                        (yamamoto)

ann i patti – jedno prijateljstvo

https://i2.wp.com/modagid.ru/files/photos/imgs/48/48939/large_ann-demeulemeester-patti-smith1.jpg

prijateljice, saradnice, srodne duse… njihovi rođendani su udaljeni samo jedan dan (patti smith ima rođendan 30. decembra, a ann 29.) ann je sa 16 godina prvi puta slušala “horses“… na brojnim njenim revijama patti je prisutna ili kao inspiracija ili samo sa svojom muzikom kao zvučnom kulisom.

https://s-media-cache-ec0.pinimg.com/originals/2f/55/a3/2f55a3d9a46091b20d42a4858f394429.jpg

demeulemeester’s spring summer 2000 collection ‘woolgathering’ takes its name from a short autobiographical book published by smith in 1992

https://i1.wp.com/thedailyquotes.com/wp-content/uploads/2013/09/black-is-not-sad-ann-demeulemeester-quotes-sayings-pictures.jpg

https://i1.wp.com/guestofaguest.com/wp-content/uploads/2013/03/230876-patti-smith-et-ann-demeulemeester-lors-637x0-4.jpg

“patti has always been part of my universe,” demeulemeester has said, “but i don’t want to vulgarise our contact, which is really magical and beautiful. it’s almost sacred to me, which is why i never talk about it in the press. please don’t reduce our friendship to a trouser or a skirt.” (oyster magazine)

https://i2.wp.com/i1183.photobucket.com/albums/x468/Rhizomet/PattiSmithADss07.jpg

ann demeulemeester spring/summer 2007

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“happy rimbaud’s birthday,” patti smith said to a scrum of journalists, as she walked into her exhibition at the Wadsworth Atheneum, in hartford, connecticut, yesterday. the french poet arthur rimbaud would have been 157. ms. smith has been celebrating the day for 47 years.

she was wearing black glasses, black shoes and a long black jacket, which was designed by a friend, the belgian fashion designer ann demeulemeester, she said, pointing to her in two of the tiny black-and-white photographs that lined the galleries.

nearby was a long replica of the wooden litter that once carried rimbaud, stricken with gangrene in one of his legs, down a mountain in ethiopia and hundreds of miles to a boat bound for marseilles, france, where he sought a doctor.

ann’s such an angel,” the singer said, “and it’s nice for arthur to have a guardian angel.” (by andrew russeth, 

photo by annie leibowitz

https://wildsidefashion.files.wordpress.com/2014/04/42cae-patti-demeulemeester.jpg

https://i1.wp.com/www.wmagazine.com/wp-content/uploads/2012/08/blog-patti-smith-book-reading.jpg

https://i2.wp.com/www.culturesinbetween.net/uploads/ann-demeu.jpg

ann  photo by willy vanderperre

 “good fashion is like rock music: all anarchy and revolt.”, ann 1997.