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

Oglasi

yohji and yamamoto and rizzoli

1. novembra 2014. pojaviće se knjiga “yohji & yamamoto” u izdanju kuće rizzoli iz new yorka. u knjizi, kaže izdavač, naći ćemo, između ostalog, pismo glumice charlotte rampling,  svedočenja yamamotovih dugogodišnjih prijatelja kao što su reditelji wim wenders i takeshi kitano, arhitekte jeana nouvela… fotografije paola roversija, nicka knighta, donate wenders, bertranda marignaca, craiga mcdeana, inez & vinoodh, maxa vadukula… dole su fotografije korica i neke od onih unutar knjige. vidi kako sve pršti od crvene! ( red isn’t a colour, it’s a light. yamamoto) a ko je izdavač ove knjige? rizzoli ny je izdavač sa italijanskim korenima – angelo rizzoli (1889-1970). kuću je osnovao 1929.  objavili su neke od najlepših ilustrovanih, umetničkih knjiga.  finansirao je filmove federica fellinija “la dolce vita” i  “8 1/2“.  1964. otvorio je na 5. aveniji sada već čuvenu knjižaru rizzoli international bookstore koju možemo da vidimo u woody allenovom  filmu “manhattan. rizzolijeva vila arbusto na iskiji muzej je u jednom delu posvećen i njegovom životu… i od yamamota i od rizzolija naviknuti smo da očekujemo samo najbolje. p.s. moram da se pohvalim da mi je gentleman.rs objavio tekst o yamamotu!!! yohji yamamoto backstage, bertrand marignac photo: yy by marc ascoli, © tom de peyret  MORE TO LOVE: Yamamoto &amp; Yohji.<br /><br /><br /> [[MORE]]<br /><br /><br /> Preview the forthcoming Rizzoli book documenting the designer’s 40 years of anti-fashion<br /><br /><br /> Photo: Nick Knight courtesy of Yohji Yamamoto Correspondences exhibition, Alessandro Ciampi, Rizzoli photo: nick knight 

photo: yohji yamamoto correspondences exhibition, alessandro ciampi
  Yamamoto & Yohji
 

 muzej angela rizzolija, ischia

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.

donata, wim and yohji

moj omiljeni profesor na fakultetu govorio je: jednostavne stvari nisu uvek i lepe, ali lepe stvari su uvek  jednostavne. wim wenders i yohji yamamoto, naravno, nisu stvari, ali su njihova dela i lepa i jednostavna. kao što su i njih dvojica kao persone, zatajeni, ne talambasaju i ne razmeću su kreacijama svoga duha. a  oplemenjuju naše duše…

o njihovom prijateljstvu i saradnji već sam pisala ovde.

wim wenders ima talentovanu i sofisticiranu ženu. ona je, između ostalog i fotograf. zove se donata wenders.  napravila je neke lepe i jednostavne fotografije yamamota i njegovih kreacija.  njen suprug, wim wenders nije nešto posebno mario za modu. dok nije upoznao yamamoto-sana. i on i donata su isto odreagovali na njegove komade, osećali su zaštićeno. wenders reče: “kao princ u oklopu”! upravo to je yamamoto i nameravao svojom odećom. da zaštiti, sačuva, spasi… pogotovu žene. ja bih rekla da dodir njegove odeće mora da je ( još nisam imala tu sreću i čast da je ponesem) je poput dodira anđela damiela u wendersovom filmu “der himmel über berlin” …

ovo su neke donatine fotografije na kojima su yamamoto i njegova dela pod pogledom punim naklonosti i poštovanja:

 

photos by donata wenders

u intervjuu za tiger magazine donata je marti fernandez rekla o yamamotu:

DW — i believe clothing is not important from the point of view of fashion and trends, but what you do with it, the effect it has on your daily movements and activities. a mother, for in- stance, couldn’t interact equally with her children wearing a tight miniskirt or a pair of jeans. this is the sense in which i find the impact of cloth- ing on photos interesting. in my pictures i don’t intend to photograph the model as an individual, but his transcendent private persona, what people can identify themselves with. in this aspect i do care about clothing: how it fits, how it conditions movement, the way it makes the model feel. i believe fashion is overvalued, whilst the effect it has on our daily routine is very undervalued. in yohji yamamoto’s backstage i became really aware of this reality.

the same instant the models put on yohji’s designs they moved like dancers, with elegance and grace, they even spoke differently. i was impressed by the sudden change, and ever since i’m more conscious of the importance of clothes in my pictures, because what i really pursue is the communication though gestures, posture and movement the human body is capable of.

yamamoto i donata za nemački vogue, mart 2009. za ostatak fotografija iz ovog broja i tekst na nemačkom koji je razgovor između ove dvoje umetnika klikni ovde.

donata wenders

wim i donata wenders

wenders & yamamoto 

i dole svi, obe porodice, čak i majka dizajnera!