How to Join
the Fashion Spot / Front Row / Designers and Collections
FAQ Calendar Search Today's Posts Mark Forums Read Rules Links Mobile How to Join
Reply
 
Thread Tools Display Modes
30-09-2011
  76
V.I.P.
 
MulletProof's Avatar
 
Join Date: Apr 2004
Gender: femme
Posts: 24,721
I don't know if this was ever posted somewhere in this area but, trolling around google, I found it and thought it was a nice read about his first years in Paris.

Quote:
YOHJI YAMAMOTO, JAPAN'S NEW FASHION LUMINARY, HAS SERIOUS DESIGNS ON THE WEST
By Harriett Shapiro / People Magazine
October 11, 1982


It was only seconds before the climax of his first New York show last April. Backstage, at the cavernous West 14th Street Armory, a fuse blew and the lights went out. With eerie flashes from the strobes lighting up the runway, a slight figure darted forward into the thundering applause. Yohji Yamamoto, the 39-year-old Japanese designer, fresh from recent triumphs in Paris, had just brought Seventh Avenue cheering to its feet. The applause underscored not only Yamamoto's success but also the explosive changes that are rocking the fashion world, turning Tokyo into the Milan of the East. Better known Japanese designers like Issey Miyake, Kenzo and Hanae Mori have been established in the West for much of the last decade. But now comes a new wave of Far Eastern avant-gardists—Yamamoto, Rei Kawakubo and Mitsuhiro Matsuda. "Yesterday it was the Italians. Today, the Japanese," observed Hubert de Givenchy. "Who knows, tomorrow it might be the Chinese." Chimes in Jon Weiser of New York's trend-setting Charivari stores: "Of the new breed, Yohji is certainly the leader."

In Japan, fashion's newest star is frequently stopped on the street and asked for his autograph. But such rock-star adulation has not softened Yohji's stringent, Zen-like sense of design. Among his followers he has gained a reputation for radically conceived men's and women's clothes, cut away from the body. "I think to fit clothes tight on a woman's body is for the amusement of man," he announces. "It doesn't look noble. Also it is not polite to other people to show off too much." The Yamamoto view of fashion is diametrically opposed to the swishy grand luxe of French haute couture. "My clothes are very different from others," he says. "Every time I do a show people say, 'Yohji, why do you use such dark colors? Why do you make dresses in such a sad mood?' "

To achieve the exquisitely simulated "poor look" his fans adore—and that sells for up to $1,200—Yohji hand-treats his fabrics at a factory in Gifu, a well-known textile center two and a half hours from Tokyo. There, using the friction of tiny pebbles, he stone-washes leather in huge steel tanks. Bolts of wool and cotton are dunked by workers in the Nagara River and sometimes dried along the banks. For Yohji, this process of breaking in fabrics is instinctive. "When I was a boy and my mother bought me a new shirt," he recalls, "the first thing I wanted to do was wash it before wearing it."

Yamamoto grew up a lonely child in the Shinjuku district of Tokyo, a neighborhood dotted with cheap bars and cabarets. When he was 2, his father, Fumio, who had been in the restaurant business, died of undetermined causes on a transport ship en route to the Philippines. "My mother, Fumi, was a typical Japanese war widow," says Yohji, pausing to sip his green tea. "She made up her mind never to marry again, to live alone and work very hard just for her child."

Yohji was 12 when Fumi, a dressmaker, transferred him from public school to the Ecole de L'Etoile du Matin (School of the Morning Star), an exclusive French Catholic school near the Imperial Palace. His future business partner, Goi Hayashi, was a classmate. Both men remember their first encounter in the schoolyard. Goi threw a rock at Yohji. "It was a place for rich people's children," says Yamamoto. "I felt I was different from the other boys." About his childhood, Yohji says, "Even then the most important part of me was woman. I was born from woman and I lived for about 20 years with only woman. When I was at kindergarten, my most intimate friends were always girls. I always fought with boys. Girls were for me mikata—a friend, an ally."

In 1966, Yamamoto graduated from Keio University with a law degree. "My friends were secure about their future because of their connections," he says, "but I had no connections. So I thought it over and over and I decided to change my future. I decided not to become a businessman."

With Fumi's reluctant blessing he entered Bunka Fukuso, the famous fashion school where Kenzo had also studied. "I just wanted to help my mother," he explains. "I didn't know there was a kind of business called designer." With prize money he won at graduation, Yamamoto went to Paris in 1968. It was a harsh time for Yohji, who rented a dark narrow room in a cheap Left Bank pension, making the rounds of fashion magazines and department stores—never with any luck.

Back in Tokyo the following year, he free-lanced and helped Fumi in her boutique—designing for nightclub entertainers and housewives. But in 1972 he announced to his mother that he wanted to start his own ready-to-wear company. "Yes, you do it," Fumi said. "It is up to you." With her help (Fumi has been working for the firm ever since), he struck out on his own.

Like his sojourn in Paris, those first years were intense, often bleak. But slowly Yamamoto's luck changed, and in 1977 the press and public went wild over his breakthrough collection at the Bell Commons in Tokyo. Meeting with his staff after the show, the normally restrained Yohji burst into tears. "From then on," he says with a twinkle, "it is a very common success story. So it is not as interesting."

Yohji's modesty hides an intense professional drive. "I am hungry in my heart," he has said by way of explaining his ambition. With his clothes now selling in 10 countries around the world, Yamamoto expects to gross $15 million by the end of the year. "I think he has a big future in the U.S.," says Bloomingdale's vice-president for fashion direction, Kal Ruttenstein. "It will take a bit of time. His clothes are not easily understandable to the masses. But in sophisticated cities and stores, customers will catch on that something different is going on."

Right now Yohji shares his modest one-bedroom apartment, a 10-minute bike ride from the office, with two cats and one dog. Divorced, Yamamoto has a 13-year-old son who lives with his ex-wife.

In the midst of planning his Paris show for later this month, Yohji has his eye on the future. "After finishing all my fight, all my struggle," he says, "I want to stroll along the street with my dog. I will love to be old man."
How old is Limi, does anyone know? and what does he son do? is Goi still working with him? I know it's not relevant, just curious/brainwashed by People Magazine clearly.

__________________
Metal teeth of carousels.
  Reply With Quote
 
31-10-2011
  77
backstage pass
 
Join Date: May 2005
Gender: homme
Posts: 963


i hope this has not been posted, yet.

  Reply With Quote
01-11-2011
  78
flaunt the imperfection
 
softgrey's Avatar
 
Join Date: Jan 2004
Location: downtown...
Gender: femme
Posts: 50,675
i recently watched that interview-
it's very very good...
thanks for posting it ...

the Y-3 film is going to be for sale soon!

Quote:

Yohji Yamamoto, This Is My Dream
Yohji Yamamoto Demystified

Like every Japanese designer we can think of, Yohji Yamamoto is notoriously reclusive. Which is why the short film This Is My Dream that screened in various cities earlier this year was such a big deal. Yamamoto granted first-time director Theodore Stanley unprecedented access as he went about designing and putting together his spring 2010 Y-3 collection with Adidas, a process that included model castings, fittings, joking around, moments of introspection, and plenty of bons mots ("Too good harmony is boring").
Now, finally, the documentary is available on DVD, arriving next week in all Y-3 stores nationwide. But wait, there's more. A scented candle is bundled with it, adding to the sense of enlightenment. The hefty box set ($95) is made in a limited edition of 3000, commemorating the ten-year anniversary of Y-3.
hintmag.com

__________________
"It is not money that makes you well dressed: it is understanding."
ChristianDior



  Reply With Quote
02-11-2011
  79
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
Quote:
Originally Posted by MulletProof View Post
How old is Limi, does anyone know? and what does he son do? is Goi still working with him? I know it's not relevant, just curious/brainwashed by People Magazine clearly.
goi was the ceo in those days. but I believe he left the company long ago.
yohji's son, yuji was the head of the sales department for domestic market at the old YY inc.
there is a mention of yuji and limi in this article below from this year.
edit: the mention is in post #80 since the article is too long for one post.



telegraph.co.uk

Quote:
Yohji Yamamoto: 30 years at the cutting edge

An interview with Yohji Yamamoto, whose three decades of controversial and revolutionary design are being celebrated with an exhibition at the V&A.

BY Tamsin Blanchard | 06 February 2011



Yohji Yamamoto is fingering the sleeve of my dress. He is telling me about the outraged reaction to his first show in Paris 30 years ago, and he suddenly stops. 'This is dirty!' Admittedly, the dress in question, an old Vivienne Westwood Anglomania number, is several years old and washed out. It was once black but has turned dark grey from too many washes. I didn't think it was actually dirty, though. His wise and open face, a little lined and weary around the edges, his eyes watery from a cold, breaks into a smile. 'It's beautiful.'

Yamamoto's office in Tokyo is what could reasonably be called a tip. It's a den, not an office. Behind his old wooden desk is a line of old leather boots. They could be there for research purposes but I suspect he simply forgot to take them home. There are several guitars in one corner, and the central circular table where we are now sitting looks as though somebody emptied a waste paper basket on to it. Space is made for a tray of tea, and Yohji clears a small area next to his pin cushion and dressmaking scissors - perhaps the only things on the table he actually uses - for his cigarettes. He chain-smokes throughout the interview.

Yamamoto speaks English fluently but stops a lot mid-sentence, for seemingly endless minutes at a time, deliberating on what he is about to say next. With relief I gradually realise that, in Yohji's world, 'dirty' is a compliment. 'Many journalists kept saying, "Yohji, why are you making such dirty clothing?" ' he is saying, referring to the way his clothes come in many shades of black and can often look worn in, a little distressed around the edges. 'But I was seriously thinking that those are beautiful compared to the established style of garment from other famous designers at the time. Dirty is good.'

On the eve of an exhibition at the V&A (I would say retrospective, but he dislikes the idea and chooses to ignore his 30th anniversary this year: 'Who is going to celebrate?' he asks quietly. 'I'm not. It's boring.') it is hard to imagine the hostility of the fashion world to Yamamoto's work when he unleashed it on an unsuspecting Paris in March 1981. He and his girlfriend at the time, Rei Kawakubo of Comme des Garçons, showed clothes that bore no resemblance to anything the fashion world had seen before - Yohji's dark, voluminous, misshapen coats worn with huge brimmed hats that hid the models' faces - and the reaction from the fashion establishment was one of outrage, describing it as 'Hiroshima' and 'holocaust chic'.

'The Japanese Offensive!' was the headline in Le Figaro , adding, 'Is there a "yellow peril" on the horizon?' In 1983 the paper's fashion editor, Janie Samet, was still feeling under attack, describing Yamamoto's collection as 'a snobbism of rags that presents the future in a bad way'. In the International Herald Tribune , the then fashion editor, Eugenia Sheppard, called it 'suicidal'. The powerful trade paper WWD ran pictures from the collection with a black cross through them, describing it as clothes for homeless people who lived on station platforms. 'Intellectual Bag Ladies', the headline sneered.

For Yamamoto the headlines were deeply shocking and upsetting. 'At that moment, I didn't respect any designer. Any history. I was simply looking for the idea for myself, for my own excitement. So it was naturally out of trend, out of fashion. I was panicked by the reaction. I really felt I don't mean that, I'm not coming here to Paris to say something against the fashion. I just wanted to open my own small shop. That's it.'

But in a world used to immaculate strong shoulder lines, perfect linings, luxurious embroideries and glitzy buttons that had more to do with the wearer's status in life than with the practicalities of fastening a jacket, Yamamoto and Kawakubo's collision course with the establishment was set.

'It was big pressure [showing the following season]. At the beginning, my memories are of more than 70 per cent of the audience booing and 30 per cent understanding or welcoming. I remember… panic. From the next collection it became a war. I didn't want a war but too much attack made me fight.' And you are a good fighter, I say, referring to his black belt in karate. 'I am,' he nods. Rei Kawakubo's showing alongside him was, he says, important. 'When one designer is thinking like that there is not so much reaction, but because there were two, it meant "the army from Asia".'

It was not all hostile. British Vogue ran a story devoted to 'the Japanese' in 1982 and the newly launched Face and i-D magazines were the spiritual home for their radical designs. 'Gradually, gradually, it was becoming 50/50 between people understanding and not. When I felt that it became even, I felt comfortable. And afterwards when I felt I was welcomed by more than 70 per cent, I felt very uncomfortable.' He laughs. 'They started to call me master, maestro. So I was shouting in my mind, "No I'm not, I am just a dressmaker, fighting." '

Although Yamamoto is ignoring his 30th anniversary, this is a big year for him. His autobiography, My Dear Bomb , which he describes as 'half creation, half truth', was published here last month by Ludion and his first Y-3 shop in Britain opens in Conduit Street, London, opposite his main shop, this month. Coinciding with the show at the V&A, which will take over the main exhibition space as well as six locations around the museum including the Tapestry Room where there will be classical music playing in the semi-darkness and the surprise of three red boiled- wool coats lurking mysteriously among the tapestries, there will be a companion exhibition taking place at two other locations across London, at the Wapping Project in Wapping, east London, and the Wapping Project Bankside.

In the reclaimed hydraulic power station at Wapping, a single installation will feature Yamamoto's vast wedding dress from autumn/winter 1998, which has a bamboo crinoline and a monumental hat, and will be suspended over a pool of reflective black water, with a rowing boat to take you for closer inspection. The Bankside space will also showcase Yohji's Women, some of the innovative and influential imagery that has been used to publicise Yohji's collections over the years, including work by Nick Knight, Inez van Lamsweerde and Craig McDean. Yamamoto will attend the opening of his shows (no doubt hiding in the shadows) and will return later in the year for a Q&A at the Victoria & Albert museum.

Nevertheless, Yamamoto is resolutely downbeat when I ask him if this is a good time to take stock. 'Maybe I'll be not here, maybe I'll be here. Recently every time I do a show, all I think about is this might be the last one.' He says he has felt like this for the past three years. 'I'm simply saying I don't know about tomorrow.'

In October 2009 Yamamoto's business became a victim of the recession and with debts of £42 million his company filed for bankruptcy protection. He was bailed out by the investment firm Integral Corporation, which signed a deal to sponsor the brand and give it a much-needed cash injection. His autobiography opens at this point in his life, with a letter written to him by his friend the German film director Wim Wenders, concerned about the state of his business. In reply Yamamoto, who was the subject of Wenders's 1989 documentary Notebook on Cities and Clothes , wrote, 'Around May to June of last year I was considering retirement. But, as my new partner was not thinking in terms of mergers and acquisitions, we ended up producing a 20-year business plan and I signed the contract… I consider this turning point the beginning of my final chapter.'

Talking to Yamamoto, it does not feel as though his attitude towards business has changed much. He is as out of kilter with the demands of the fashion world as he has ever been - seemingly happily so. In an industry which is about selling bags and accessories, Yamamoto prefers the practicality of a pocket (although the 'Yohji' messenger bag he created for Hermès - the luxury leather house's first designer collaboration on a bag - in 2008 became an instant classic). His clothes are timeless and as apart from the ups and downs and crazy cycles of fashion as it is possible to be.

Yohji Yamamoto was born in Yokohama in 1943. His father was conscripted to fight in the war and was killed in action. One of his earliest memories is of going around the paddy fields on his tricycle after the funeral. In My Dear Bomb , he writes, 'I remember that at some point after I entered elementary school, I think, my mother held a funeral for my father in spite of the fact that none of his remains had been returned to us. "Died in the line of duty during fierce fighting in the mountainous region east of Baguio, Philippines," said the notification of death. His remains have yet to come home.'

After her husband's death, Yamamoto's mother, Fumi, learnt to sew at the Bunka fashion college and ran a dressmaker's shop in what her son describes as the 'seedy Kabukicho area' of Shinjuku in Tokyo. His aunt brought him up while his mother worked to pay the bills and to save for his education which, she was determined, would be the best she could afford. He had a tutor and was sent to a crammer so that, by fifth grade, he was at private school. His mother remembers him being good at painting and drawing as well as playing the guitar around the age of 12 while he was at junior school. He had borrowed a guitar from the boy next door and taught himself. He has played ever since, collaborating with other musicians, including Ryuichi Sakamoto, and he played at his autumn/winter 2008-09 catwalk show.

'My mother's shop was a very small dressmaking shop in the neighbourhood and our customers there were housewives,' says Yamamoto, who worked there between his studies, first a law degree at Keio University and then a three-year fashion degree, at Bunka. 'They were the wives of somebody else, the women who didn't pay by herself.' Mainly, his mother copied looks from fashion magazines - American and European ones. The young Yamamoto hated it. 'They were not right for their proportion. It might be a floral-printed very feminine dress and they would ask, "Could you make it 1cm tighter here?" ' Yamamoto stubs out a cigarette. 'No way,' he says through clenched teeth. 'I was obeying their requests for five or six years.'

__________________

Let the stars decide

Last edited by runner; 02-11-2011 at 12:52 PM.
  Reply With Quote
02-11-2011
  80
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
telegraph.co.uk

Quote:
In 1969 Yamamoto won a fashion prize at college to travel to Paris. 'It was the exact moment when ready-to-wear was blossoming,' he says. He had studied the great masters of couture at school - Dior, Balenciaga, Chanel - and suddenly it all seemed irrelevant. 'I felt I was totally useless. I was sinking… to the bottom of the River Seine.' He spent his nine months trying to sell his fashion sketches to magazines but he didn't sell a single one. 'It was very tough training,' he recalls. 'The disappointment was very hard.'

He returned to Tokyo at 26, as he describes, 'a kind of good-looking boy' with new dreams and aspirations. He could have continued to make a living working at his mother's shop, but he began planning his own line of ready to wear. One of these collections - made up only of raincoats - attracted the attention of Japanese buyers and they began to order from him. Did your mother encourage you, I ask, wondering how she felt to be losing her talented son from her shop. 'I have no memory about that. She might have been very anxious. Hmm. She is on the third floor, ask her.'

Now 94 and dressed in an unassuming black jumper with black trousers and a smart but not 'designery' jacket and comfortable-looking black leather loafers, Fumi Yamamoto welcomes me with cups of real lemonade and jelly sweets, laid out neatly on lace doilies before us. She has devoted her life to her son. After the war in Japan, life was grim, particularly for a widowed mother. She recalls taking a rucksack into the countryside on the outskirts of Tokyo to forage for food. It is unimaginable now - particularly when I see her later being driven home in the back of a shiny limo - but then, life was simply about survival.

Fumi pushed her son to do well at school, and supported him financially. She was convinced enough about her son's talent to sell her own shop to help him to open his in 1972. He even took on one of her loyal employees, Takayuki Kurihara. He still works as Yamamoto's pattern chief. Fumi's salary stopped when the new investment team stepped in, though she keeps her driver and continues to travel with the team to Paris for the womenswear shows twice a year where she makes sure
everyone is happy and cooks for Yohji and the team (one of her specialities is a type of Japanese omelette made with layers of egg).

Yamamoto launched his Y's collection in Japan in 1977 and had an established business when he went to Paris to show in 1981. 'The wind was blowing,' he says. 'I had a map of Japan on the wall and I had a pin for each city where I had a connection with a shop.' Within three years, most of Japan was covered. 'And then, well, why not? Open a shop
in Paris. The idea came.' Sure enough, despite the unsupportive fashion press, he opened his shop in Paris on rue du Cygne in the first arrondissement in 1981. And the customers - women who discovered a new way of dressing overnight - began to buy, and haven't stopped since.

Today, his business back on track, Yamamoto employs about 70 people. It takes at least three years to become an assistant. 'There is a freedom here,' he says. 'But freedom is very heavy, it carries responsibility. And that freedom to create something is hell. There is no excuse. The clothes, the finish of the clothes tells everything - how they love, how they eat, how they spend time - the clothes don't lie.'

The core members of the design team, including his right-hand man, Tadashi Kubo, sit outside Yamamoto's office. At one point while we are being shown around the studio, Kubo springs up from his chair and pulls out one of the thousands of brown manila envelopes that line the studio. It's a folded pattern from the mid-1980s. The entire archive of more than 30 years' work is here on paper. He shows us the pattern cutters, working amid apparent chaos of long rolls of pattern cutting paper, and then the fabrics in every weight, texture and shade of black and grey imaginable. Then, with a glint in his eye, he opens a door into a small room packed from floor to ceiling with rails of clothes. This is the inspiration room, where Yamamoto's eclectic collections of old clothes - many rare and unusual army and navy uniforms - are kept. It is the designer's own museum.

'I have been collecting so many secondhand clothes for 30 years,' Yamamoto says. 'Army uniforms are made with special thread, for certain specific reasons - for the fight, or for protection. Ordinarily you cannot order those types of fabrics. There is no ornament; everything is necessary.' He refers to these clothes - a mad mix of the military and the folk, traditional clothing from around the world and through different periods of time - to recreate a particular fabric, or to be inspired by the cut of a jacket. There is an honesty about these clothes that he likes.

For Yamamoto the starting point of a new collection can be fairly abstract. How does a collection begin? 'I start speaking. Like last time, I started talking to my pattern maker, maybe I said "Hey, I'm treated like a master and I hate it, so I know you are very highly technically experienced, but please forget it. Don't make perfect. I want to be like a young designer starting out, so don't repeat your high quality. You have to break your experience, forget your experience." I started this time in that way, and for the fabric team I started, "Hey, I'm going to do psychedelic print and accessories" - which I hated for a long time. And then they struggle to see how I am feeling, what I'm thinking, and there is a ping-pong.'

Every garment will be shown to Yamamoto 10 or more times (it is usual for a designer to make changes to a toile three or four times), for fittings that last for days at a time, as he cuts into the fabric, drapes, pins and creates on the body; each piece of clothing is a process from the fabric itself to the pattern cutting to the fittings, the embroideries (it's not always all plain and black), and finally the finished product.

Everything is made in Japan, and often pieces are finished by hand as part of a cottage industry keeping alive the arts and crafts of the country's traditional textiles business. It is about as far away from industrialised fast fashion as is possible to be. While the design and cutting is done in Tokyo, every one of Yamamoto's fabrics is made specially in Kyoto at the family-run Chiso factory, which was established in 1555, when it made garments for monks, and has been producing Japan's finest ceremonial kimonos for decades. A single kimono can take up to one year to produce, using up to 15 artisan processes along the way.

It is an extraordinary relationship - a 21st-century operation that can connect Yamamoto with a dying breed of artisans capable of the finest craftsmanship. Here, in the suburbs of Kyoto, up impossibly narrow, steep staircases is a kimono painter, Mr Kimura, who sits down at his workshop table every day, using a rice paste to stop the colours seeping into each other, working 10-hour days to produce five or six kimonos a month. It was this ancient Yuzen technique that was used to create the extraordinary oversize kimonos Yamamoto designed for his friend Takeshi Kitano's poetic 2002 film, Dolls .

Here, too, are the embroiderers, only three of them, in a sun-filled room, their sharp eyes focusing on millions of often microscopic stitches in the most exquisite shiny silk thread that appears to have been spun like candyfloss. A single kimono takes 12 days to embroider in this way. This workshop, at the top of another steep staircase, is run by Mr Murayama. He hand-dyes his own threads now because the supplies are no longer available in the subtle range of colours he requires. When Yamamoto needed special embroideries for costumes for Elton John's Red Piano tour in 2003, this is where they were done. The samples are still in the archive - silky spiders, and silver and gold safety pins so heavily worked that they look almost three-dimensional and real.

For special projects, when money is no object, Yamamoto can indulge in using the craftsmanship he loves. But it is surprising when I am taken to visit a machine embroiderer in a block of flats on the outskirts of Kyoto, who is busy working on sections of jackets for the spring/summer 2011 Yohji Yamamoto menswear collection. Mrs Yamagata, who has been sewing like this for 40 years, is stitching bright motifs on 60 jackets, each badge taking 15 minutes, deftly moving the fabric freestyle, without a foot to keep it in place, around the needle of the sewing machine. These hand-finished jackets will go on sale this spring for £1,870. Mrs Yamagata reminds me of how Fumi Yamamoto would once have worked, sewing away at home to make a living for herself and her only son.

For Fumi, the hard work and investment have paid off. She is proud of her son, as well as her granddaughter, Limi Yamamoto, 35, whose label Limi Feu was launched in 1999 from the ground floor of Yamamoto's HQ. She works completely separately to her father but the aesthetic is dark, androgynous and unmistakably Yamamoto. She has not had to fight the battles her father did. He paved the way for her generation. The product of Yamamoto's first marriage, Limi has an older brother, Yuji, who works on the commercial side of a multi-brand fashion company in Japan, and a teenage stepbrother, from Yamamoto's current partner, who has worked with him for 25 years.

While Yamamoto is downbeat about the future, the V&A exhibition will surely give him a boost. To relax, he likes to gamble, and there is a dartboard outside his office. He has written some new song lyrics as part of My Dear Bomb , but says he is not making music at the moment. 'I have no time,' he says. He also likes to draw and paint and will be doing a painting in situ at the V&A the day before the opening. 'This one or two years has been very, very tough and busy so I hope I'm coming back to my physical life: creating of course, and taking care of business, and taking care of myself. Like doing stretching exercises. Hopefully, a healthy life.'

__________________

Let the stars decide
  Reply With Quote
02-11-2011
  81
flaunt the imperfection
 
softgrey's Avatar
 
Join Date: Jan 2004
Location: downtown...
Gender: femme
Posts: 50,675
very good and informative article---
thank you runner...

i am glad that there is more and more video of yohji giving interviews and speaking about his work and what inspires him...i can almost hear him speaking to this interviewer now...

i know that, for me, i am starting to get a sense of who he is and where it all comes from...
and i think what he says is right...
the clothes don't lie...
i think you can see all of it in the clothes...
so i think that in some ways, i already knew everything before he explained it...
but not really---
i just had the 'sense' of it all...i could feel some of these things that he talks about now...

so it is really fascinating for me to know what is true and what is only something that i imagined...

:p...

__________________
"It is not money that makes you well dressed: it is understanding."
ChristianDior




Last edited by softgrey; 02-11-2011 at 02:47 PM.
  Reply With Quote
20-11-2011
  82
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
the godmother behind the company
yy and aa from 1988
his guitars


fashionnews
Attached Images
File Type: jpg yy5.jpg (86.5 KB, 3 views)
File Type: jpg yy6.jpg (98.0 KB, 13 views)
File Type: jpg 02e01437fcdb17792d1f70c88f737d6c.jpg (239.2 KB, 2 views)

__________________

Let the stars decide
  Reply With Quote
20-11-2011
  83
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
Quote:
Originally Posted by softgrey View Post
i know that, for me, i am starting to get a sense of who he is and where it all comes from...
and i think what he says is right...
the clothes don't lie...
i think you can see all of it in the clothes...
so i think that in some ways, i already knew everything before he explained it...
but not really---
i just had the 'sense' of it all...i could feel some of these things that he talks about now...

so it is really fascinating for me to know what is true and what is only something that i imagined...

:p...
yes but it's "something that you imagined" that I'd like to listen to. perhaps someone else and yohji too would listen to it with delight.
once rimbaud wrote "I is an other" or "I is another". and there was a japanese writer named ango sakaguchi who used to have a similar thought. ango is the man yohji adores. what ango had been is what yohji wanted to be. but yohji thought he was not as good at writing as ango. that's why he has been doing it by way of designing clothes.

he seems to especially love and relate to this short story by ango, "in the forest, under cherries in full bloom".
found one english translation of it on the site scribd and here is an excerpt from there.
the feeling he put into clothes might have been the coldness felt clearly in the infinity or the fleshly warmth felt inside.








newyorkphotofestival

__________________

Let the stars decide
  Reply With Quote
24-11-2011
  84
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
photo courtesy softgrey





softgrey.blogspot

__________________

Let the stars decide
  Reply With Quote
01-12-2011
  85
flaunt the imperfection
 
softgrey's Avatar
 
Join Date: Jan 2004
Location: downtown...
Gender: femme
Posts: 50,675
kind of amazing how you used my own photo to illustrate your point runner...


using that image does make this passage very clear to me though...
*excerpts*
'When he was about to touch her face, he thought something strange happened...there was nothing under his hand...no trace of the woman left...'

something amazing and strange happened to me when i went to see the yohji exhibit in london where that picture was taken...
to give you some idea of how powerful it was to experience the dress and its reflection in the boiler room of that old power station which had been filled with water...
i can only say this...
as the boatman rowed me around the dark, reflective space...
i leaned over the edge of the tiny rowboat trying to see down into the water where the reflection ended...
it seemed to go on forever... i was pulled from my seat....
and, for a moment, i felt as though i were being pulled into the watery depths...
destined to spend eternity frozen below the surface along with this glowing apparition...
and the truth is, a big part of me wanted to go there...to be with her...
i had to make a concerted effort to pull myself back into the boat...
...

there was definitely the feeling of a spirit frozen in time...
some pirate princess who haunted the place...
i could feel it---

...


so- i guess that is what it was like in my imagination, without knowing these other things that you have brought to the conversation runner...
and, now that you mention it...
i suppose it might be something interesting for yohji to know...
and i am flattered that you would want to know as well...



__________________
"It is not money that makes you well dressed: it is understanding."
ChristianDior




Last edited by softgrey; 01-12-2011 at 02:39 PM.
  Reply With Quote
09-12-2011
  86
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
thank you very much for sharing, softgrey
glad you managed to hold yourself back and didn't merge into it.
I guess artistic impression sometimes makes a tear that opens into the mind.
it can be good ventilation. something fresh (or very old, long-forgotten) flows in from it and eases the stiffness in the mind.
but it can also be a leak through which the self starts to drain away.
if the experience is so powerful, that may be a glorious but slightly dangerous moment where individuality is being weakened for reorganization with its outline blurred.



S/S 1995
my scan
Attached Images
File Type: jpg img162.jpg (12.1 KB, 11 views)

__________________

Let the stars decide
  Reply With Quote
07-01-2012
  87
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
his use of silk (F/W 94), felt (F/W 96), and leather (F/W 08)


my scans
Attached Images
File Type: jpg img1650.jpg (22.6 KB, 7 views)
File Type: jpg img1661.jpg (24.8 KB, 9 views)
File Type: jpg img1670.jpg (23.7 KB, 6 views)

__________________

Let the stars decide
  Reply With Quote
08-01-2012
  88
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
from marie claire japon circa 1982


yoshihikoueda.com
Attached Images
File Type: jpg 4.jpg (54.0 KB, 7 views)
File Type: jpg 5.jpg (55.7 KB, 6 views)
File Type: jpg 6.jpg (50.5 KB, 6 views)

__________________

Let the stars decide
  Reply With Quote
08-01-2012
  89
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
F/W 84, marc ascoli × max vadukul (another version of the image posted a few pages back)

F/W 97, M/M × paolo roversi



my scans
Attached Images
File Type: jpg img1592.jpg (76.9 KB, 7 views)
File Type: jpg img1620.jpg (26.5 KB, 3 views)

__________________

Let the stars decide
  Reply With Quote
08-01-2012
  90
El Viaje Definitivo
 
runner's Avatar
 
Join Date: Feb 2004
Gender: homme
Posts: 11,323
one more
Attached Images
File Type: jpg ea5d0f05585fc109c3f10163640aa403.jpg (116.0 KB, 8 views)

__________________

Let the stars decide
  Reply With Quote
Reply
Previous Thread | Next Thread »

Tags
yohji
Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off

monitoring_string = "058526dd2635cb6818386bfd373b82a4"


 
All times are GMT -5. The time now is 02:17 PM.
Powered by vBulletin®
Copyright ©2000 - 2014, Jelsoft Enterprises Ltd.
TheFashionSpot.com is a property of TotallyHer Media, LLC, an Evolve Media LLC company. ©2014 All rights reserved.