I want to ride my bicycle

ne samo zato što ih toliko puno, ali i zbog toga… ne samo zato  što je to tako stara kultura, ali  i zbog toga. i zbog, i zbog… kina je nepresušna inspiracija. i menja se. promena je konstantna. i čudesna. evo samo da bicikle. iz maovog perioda ostala nam je slika: gradska vreva, putevi zakrčeni velikim brojem ljudi ne u automobilima, nego na biciklima. grubim, robusnim, nalik jedni drugima kao i oni koji ih voze. a pogledaj sada ovo carstvo bicikala u šangaju, na adresi 667 changhua road:

Factory Five Jing'An — Shanghai

a ovako je bilo nekada:

mi u srbiji smo zimogrožljivi, pa vozimo bicikl samo kada je toplo, kada ne pada kiša, kada ne duva vetar, kada nije pretoplo… kakogod, dolazi proleće, pa hajmo da ih vozimo zajedno, svako za sebe, po gradu, van grada, do plaže, po planini, po ravnici, da dišemo, da posmatramo sve to oko nas pažljivije, pomnije, da zastanemo gde treba, kad god nam padne na pamet… jer je bolje, zdravije, sporije, lepše… jer nema boljeg načina da osetiš vetar u kosi!

alon raab u sjajnom tekstu za “world literature today” kaže da bi mogao da se organizuje jedan tour de literature sa onima koji su ionako večni:  tolstoy, alfred jarry, aldous huxley, bruno schulz, lu xun, simone de beauvoir, samuel beckett, naguib mahfouz, alain robbe-grillet, henry miller, astrid lindgren, william saroyan, ernest hemingway, vladimir nabokov…

life is like riding a bicycle. to keep your balance, you must keep moving.
albert einstein

henry miller

Salvador Dalí:

salvador dali

john lennon & yoko ono

“as a kid i had a dream – i wanted to own my own bicycle. when i got the bike i must have been the happiest boy in liverpool, maybe the world. i lived for that bike. most kids left their bike in the backyard at night. not me. i insisted on taking mine indoors and the first night i even kept it in my bed.” (john lennon)

marcel duchamp

marilyn monroe and arthur miller

na ulicama new yorka srešćete patti smith, davida byrna… david byrne je toliko ozbiljni biciklista da je napisao i knjigu “biciklistički dnevnici” koja je prevedena i srpski jezik. u uvodu knjige byrne kaže:

“krajem osamdesetih otkrio sam sklopive bicikle i, pošto su me moj posao i znatiželja vodili u razne delove sveta, obično bih jedan nosio sa sobom. isti onaj osećaj slobode koji sam imao u njujorku vraćao bi mi se dok bih okretao pedale u mnogim glavnim gradovima sveta… s te tačke posmatranja – kada čovek ide brže nego peške, sporije od voza i često je pomalo uzdignutiji od ljudi koji hodaju – razvilo mi se nešto što sam nazvao moj panoramski prozor, kroz koji sam posmatrao dobar deo sveta za poslednjih tridesetak godina – i još to radi.”

i komponovao je ovu poemu za bicikliste:

Patti Smith:

patti smith

a u svetu mode među najozbiljnijim zaljubljenicima u biciklizam je paul smith, čak je i dizajnirao jedan sjajan model za mr. porter:

SimonUpton_PaulSmith_Bike

rame uz rame među modnim dizajnerima sa paul smithom stoji i vivienne westwood. kao što vidiš, ni godine, ni londonska kiša nisu neke prepreke…

Stripes stripes, a winning combination. Circa 2011.:

vivienne westwood

vivienne westwood: runway – paris fashion week womenswear f/w 2012

public school‘s dao-yi chow i maxwell osborne, sa njihovim nyc žutim taksijem inspirisanim modelom bicikla (photo by kate hinds)

01-PanasonicCycletech.jpg

a kolekcija za muškarce issey miyake ss13 prikazana na pfw 2012 inspirisana je vožnjom biciklom po gradu

neki su se tako so stylish venčali uz bicikle:

solange knowles & alan ferguson u new orleansu

a za kraj, kako drugačije, nego uz ovu stvar?

i want to ride my bicycle

i want to ride it where i like

Oglasi

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.



 

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)

yoshie, patti, jun i william blake

 

THE SHEPHERD

from Songs of innocence

How sweet is the shepherd's sweet lot!
From the morn to the evening he strays;
He shall follow his sheep all the day,
And his tongue shall be filled with praise.

For he hears the lambs' innocent call,
And he hears the ewes' tender reply;
He is watchful while they are in peace,
For they know when their shepherd is nigh.

William Blake

zanimljivi i kreativni ljudi nekako se pronađu. u prošlom postu pisala sam o prijateljstvu ann demeulemeester i patti smith. patti, na sreću, ima još takvih prijateljstava. ovoga puta reč je o trojcu, dvojica sjajanih japanaca i ona: fotograf yoshie tominaga, muzičar i avangardni dizajner jun takahashi  plus ona. iz tog prijateljstva nastala je i knjiga “the shepherd” (2008) yoshie tominaga o undercoveru, brandu koji je stvorio jun takahashi, nekadašnji pevač tokyo sex pistolsa. i jun i yoshie vole i poštuju umetnost patti smith. zahvaljujuči sjajnom blogu old lyric pronašla sam stranice te knjige, tog svojevrsnog foto dnevnika i otkrila skenove rukopisa, prepiske između njih dok se stvarala ta knjiga. pisma su puna međusobnog poštovanja, uvažavanja, ali i melanholoje, nostalgičnih sećanja… znate li još nekog ko u eri interneta razmenjuje klasična pisma?

naziv knjige je iz pesme koju je stvorio on, william blake...

jun, zbog kojeg je i nastala ova knjiga rođen je 1969. u japanu, u gradu kiryu. studirao je na čuvenom bunka univerzitetu (btw pratim blog studenata modnog dizajna ovog univerziteta i uživam dok ga čitam…), a sada vlada svetom avangardne mode…

 
the shepherd, old lyric
notebook that jun takahashi makes for each season "to me, punk means a spirit unrestrained by conventional ideas, a spirit of rebelliousness, nihilism…things like that." takahashi... jun takahashi

you’ve been running for a long time now, have you read the book by haruki murakami “what i talk about when i talk about running?”  in it murakami says that a novelist’s greatest qualities are talent, then focus, then endurance. do you think this is true of your own work?

the book by mr. murakami is a bible of my running life. the qualities he mentions in the book are just so true.

(http://www.ssense.com/interview/jun-takahashi)



under cover
sjajan intervju diane pernet i juna takahashija photos by yoshie tominaga

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

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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)

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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

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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.