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29-10-2005
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all scans are taken from fashion: a history from the 18th to the 20th century, from the kyoto costume institute.

comme des garcons
blouse and dress s/s 1983

yohji yamamoto
dress and pants s/s 1983

yohji yamamoto
vest and skirt
f/w 1991

sakyu ("dune") mode, designs by Takeo
f/w 1983
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File Type: jpg yo_1.jpg (79.7 KB, 48 views)
File Type: jpg yo_rei.jpg (127.7 KB, 36 views)

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29-10-2005
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thanks so much for scanning, travolta, the book is a great treasure, really.

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29-10-2005
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comme des garcons 1983 (photographed by peter lindbergh)

comme des garcons s/s 1984

comme des garcons f/w 1984

comme des garcons f/w 1991

yohji yamamoto s/s 1995
he re-examined the relationship between the kimono and the kimono belt,and applied it to the modern wardrobe.
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File Type: jpg rei_yo.jpg (141.0 KB, 54 views)

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29-10-2005
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OMG......


it's so good it's almost painful...
i love the way peter lindbergh and max vadukul shot comme and yohji in the early to mid 80's...
the strong black and white images...
they always reminded me of flying...

sometimes when i wear yohji or comme...
i feel like i am walking on air...

....

thank you very much travolta....
...

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29-10-2005
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my pleasure, anna and soft the book ( 2 volumes ) was priced down to only $20!

yohji yamamoto f/w 1984
asymmetical pantsuits
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29-10-2005
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Quote:
Originally Posted by travolta
my pleasure, anna and soft the book ( 2 volumes ) was priced down to only $20!
i know, i have a whole taschen collection now

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15-11-2005
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An article on Japanese fashion from FT.com. Unfortunately the rest of the text is for subscribers only.

http://news.ft.com/cms/s/929fe7be-52...0779e2340.html

Japan shapes up for change
By Mariko Sanchanta

Published: November 12 2005 02:00 | Last updated: November 15 2005 12:36


In the game of free association the words "Japanese fashion" equal, for most westerners at least, "conceptual", "challenging" and "shapeless". They recall the voluminous garments that rocked Paris in the early 1980s courtesy of Rei Kawakubo of Commedes Garçons and Yohji Yamamoto and their desire to challenge traditional ideas of beauty. Well, not any more. A new, younger generation of Japanese designers has embraced colour, ruffles and sexuality. Indeed, judging from the just-ended Tokyo spring fashion collections, it's as if up-and-coming designers have had a collective epiphany: most modern Japanese women - in fact, most women in general - simply want clothes that make them look beautiful.

"Rei Kawakubo and Yohji did not embrace femininity or gentility - they went back to their Japanese roots," says Françoise Morechand-Nagataki, a prominent fashion critic who helped launch Vogue Nippon in Japan. "The younger generation of designers is not thinking about that. What we're seeing today is femininity with a rock attitude and a street sensibility."

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29-11-2005
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thanks everybody for the amazing pictures & interesting articles
found those while searching for A-POC
http://www.visasia.com.au

1. Issey MIYAKE
Silk evening dress with self-wrap 1977
‘Paradise Lost’ print designed by Tadanori Yokoo


2. Issey MIYAKE

Top and skirt 1989
Pleated silk, polyester blend 1989



3. Issey MIYAKE

Bouncing dress 1992
Pleated and twisted polyester


4. Rei Kawakubo

‘Lace’ sweater 1982
hand-knitted wool with holes


5. Rei Kawakubo

Evening ensemble 1996
Padded sleeveless devoré velvet jacket,
lined with calico & fastened with a large
safety pin, over cotton skirts

6. Yohji YAMAMOTO

Evening dress and skirt 1996
wool


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30-11-2005
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found some old articles!

january 2, 1984 from people weekly

"In fashion, it was the year of the Japanese. And no one in that ultrasensitive land, where every stitch can set off an earthquake, rattled more sake cups than Rei Kawakubo--not even her talented compatriots Issey Miyake and Yohji Yamamoto. From Paris to Tokyo her followers are striding about in Kawakubo's mournful, strangely cut garments, black socks and rubber shoes. Rei's critics hold the 41-year-old designer responsible for perpetrating a formless, asexual look. "Her clothes don't touch or mold the body," complains traditionalist French designer Sonia Rykiel. "There's a lack of softness." But Rei's supporters credit her with some of the most startling and influential designs out of Japan today. "Rei is an original," says Bendel Vice-President Jean Rosenberg. "She is a master of intricate cuts." n Kawakubo, the most radical of the new wave of Japanese designers, pronounces Western skintight garments "quite boring," adding, "I design for women who are beyond that." What sort of woman? "The bag lady of New York," Kawakubo replied fliply when asked by Women's Wear Daily.
Rei's now historic advance on the West took place only two years ago. Her first show in Paris caused one of the biggest furors since Stravinsky introduced The Rite of Spring. Like Stravinsky, Rei coolly mocked conventions--shredding and poking holes in skirts, tops and dresses. In the U.S., where her clothes still baffle the uninitiated eye, Rei's success is growing rapidly. She now has outposts in nine U.S. cities, with her own boutique in Manhattan's breathlessly fashionable SoHo district.
If Kawakubo is oblique when it comes to discussing her work, the tiny (5'1") designer is positively opaque when it comes to her personal life. Where did she grow up? "In Tokyo." What did her parents do? "Nothing special." What kind of clothes interested her as a child? "I don't remember." And so on.
It is known that Rei was the only daughter of an educator. She received a fine arts degree from Tokyo's prestigious Keio University in 1964. She worked as a stylist after graduating, and in 1973 she started her own company, Comme des Garcons (French for Like the Boys). Rei is characteristically vague when it comes to explaining why she chose that name, but what's in a name? Begin with the $30 million plus in sales Comme des Garcons is expected to pull in this year.
Profits, Rei insists, are not foremost in her mind. Maybe; maybe not. One thing is certain. Kawakubo, who is unmarried and lives alone, has clearly dedicated herself to shattering fashion icons. Now that the rest of the world is into holes and tears, Rei is moving on. At her spring-summer show in Tokyo last month, unsmiling models with a white streak on one cheek marched down the runway in garments dripping with gathers. And while the collection was Rei's most formfitting to date, it was also the most asymmetrical, with uneven hems and sleeves. Once again Kawakubo is upsetting the status quo. "I am in my own world," says the revolutionary of Japanese fashion. "Any person creating something wants to do better and better. I'm never satisfied. There's no end."


march, 23, 1984 from wwd

When iconoclastic Japanese soulmates Rei Kawakubo and Yohji Yamamoto showed their respective fall collections, there were no shocked gasps, on the one hand, or thunderous applause, on the other. The electric moment of the so-called Japanese wave of fashion as something daringly different has passed, even if the aggressively somber style of presentation remains much the same. Still, if the thrill is gone, the commercial potential of these collections has not. In fact, retailers said that Yamamoto's offerings, particularly his sweaters, promise to be among his most salable ever. And while some had doubts about the actual commercial appeal of Kawakubo's Comme des Garcons collection, they felt her new emphasis on a slimmer silhouette bodes well for the future.
Yohyi Yamamoto -- Let's look at the practical side of things. If the survivalist era of "The Road Warrior" is fast upon us, then Yamamoto has provided us with just the right sort of protective camouflage. His more spectacular fall offerings include rubber hose sunglasses, whose arms should come in handy for beating off attackers, stiffened 3-D scarves that would allow no one to come up too close, stiff coats with rolled-up hems and rolled-back lapels that could easily unroll for instant carpeting, mountain climber's tools as accessories and huge kleptomaniac coats that could hide a multitude of pilfered goods.
If these are the images that linger most conspicuously in the memory, a cooler look at Yamamoto's collection reveals a lot of comparatively sane, wearable and probably very commercial items. Among them: young, lively square-cut plaid separates; ingenious little jackets cut up to the armpits and flared, which were easily the best contribution to the enduring layered look; hobo tuxedos, and, as always, beautiful, inventively combined fabrics, with a new, much-needed emphasis on color that ranges from subtle shades of navy to hot neons. Many of the sweaters are sensational, most notably the bicolor high-collar pullovers with dropshoulders, standaway backs and long sleeves that cover the hands.
"Terrific," said Ellin Saltzman, vice president and fashion director of Saks Fifth Avenue, of the Yamamoto collection. "The coats and sweaters are sensational. It's very commercial for us. He's a very, very talented man." Sydney Bachman, vice president and fashion director of Bergdorf Goodman, singled out the Yamamoto sweaters as "beyond compare; in knitwear, he's the best." Added Macy's fashion director Terry Melville, "He's developed his own style, but he keeps coming up with new shapes and new ideas that are more wearable."
Comme des Garcons -- Ah, the delicately winning ways of Rei Kawakubo, the samurai geisha of fashion. In her show for Comme des Garcons, which led off the major collections, she set out to seduce her audience with all the discreet finesse of an Amazon warrior on the rampage. Coy Kawakubo cleverly snuck up on her unwary spectators by sending the models out before the lights were dimmed and any soundtrack had begun. And unless you were already in your seat you probably missed the first few numbers, since Rapid Rei kept those models whizzing up and down the runway as if they just couldn't wait to get out of those clothes.
This attack strategy is obviously designed to upset a viewer's traditional expectations of what a fashion show is, just as Kawakubo's deliberately asymmetrical and contorted clothes have always challenged Western assumptions of what fashion itself is. Unfortunately, the aggression act is getting a little stale, especially when it's delivered without a whit of irony.
While there are still amorphous, somber-tone layers piled together in a manner suggesting the accumulation of a week's laundry, Kawakubo does come across with some news in the form of slimmer silhouettes -- most notably the long, body-binding knotted tunics and bum wraps over skinny dresses -- and an unexpectedly spectable of shimmering colors, in a rainbow of rosy tones.
There are also some Japanese milk maid looks, in dresses shirred into bouffant bubbles of fabric at every angle, which represent Kawakubo's contribution to the Austrian window shades sweepstakes of fashion, an alarmingly prevalent trend this season. Best in the collection are the simple side-tied slim tunics over long skirts, ingenious mixed-media knits wrapped around the body in every possible way, the understated neutral-tone knit separates and the big windowpane plaid coats.

from findarticles.com

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btw. did you know julia roberts married lyle lovett in a comme des garcons wedding dress?! he suppoesdly picked it out.

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thanks for the great aticles!

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30-11-2005
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i have a bunch more gems, but it's much easier to just post them on this blog i've got. btw. i just found this really good issey miyake interview!

pm me if you want the link!

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30-11-2005
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i would really love to see what those first shows that caused such a stir looked like...
thanks for the articles travolta...

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30-11-2005
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It's fascinating to know that the japanese school started out with essentially stylized native peasant garb and evolved it into what it is today, while still retaining all the intrinsic beauty of texture and sculpture in their work. From the past, the future...

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30-12-2005
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the current issue of SWITCH contains a special feature on the ties that bind parent and child where Yohji and Limi are talking about each other.
it's written in Japanese. but found the pic from the magazine

http://www.switch-pub.co.jp/switch/2006/01/index.html#



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