1970s-1990s The Japanese Avant-garde

olivier saillard talks about Rei in here (only french listeners ! sorry !)
and a christian rizzo show ...
very interesting !
they talk about the 1997 show. anybody has pictures ? in here, perhaps.
edit : there's one up there and i see which collection now.
i didn't know she wanted to be named : "business woman" - and not artist or designer.

they talk about Margiela and Hussein Chalayan, too. and there's Chrisitian Rizzo ! It IS amazing !

christian is having 2 shows in Paris, atm.
 
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one of my all-time faves. issey miyake, a/w 1985

miyake.jpg


pic by me
 
Hi guys,

I have a question. Has anyone here got a clear image of the iconic Yohji image of the black silhouette with the red tulle bustle? I mean, has a link to one?..

Any help would be greatly appreciated.
:flower:
Got it! Old, old 500x500 image (4+years, I think) from the Pictures folder on my computer, hope it helps (I know there's a scan up already but I guess it doesn't hurt to have two).

The second is a Comme des Garcons piece from SS84...from powerhousemuseum.com
 
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c. 1997, two ladies dressed in Comme des Garcons skirts and one pieces (I assume that means dresses?) on the street.

source: FRUiTS magazine, Issue 3
 
FYI for people who like vintage yohji.

the style of the "yohji yamamoto" signature on the label has changed slightly over the years. from the early 80s to the present, the loops on the Ys have become narrower and sharper.

this is a label i have seen on pieces as early as 1983. notice the Ys are very wide and curved. also, it says "PARIS" underneath the signature.
oldyy2.jpg


here is mid to late 80s to early 90s (based on pieces i have seen it on). the Ys are narrower.
midyy1.jpg


here is the latest style of label; the Ys are much more angular. newer pieces use japanese numerical sizing (1, 2, ...), whereas older ones us S, M, ...
yynew.jpg


not sure about exact years the signatures changed, but this provides a general guide.

pictures-ebay
 
Yohji early 90s coat with brass appliques, image from Fashion: A History from the 18th to the 20th Century, by the Kyoto Costume Institute.


PS: Does anyone know anything about Koji Tatsuno? He was a protege of Yohji's in the early 90s but got forced out of business a while ago (not sure if he started back up again, though, all I can find on him are a handful of short interviews and a New York Magazine article that mentions him)....any info would be welcome!
 
L'Officiel Paris
no.752 1989

Yohji Yamamoto | Issey Miyake
photo: Hiromasa


jalougallery.com
 
i got the book of Olivier Saillard (abt contemporary fashion history, through its shows)

there are some master seasons with japanese designers.
the texts are good (in french, though).

will try to snap and post these, asap.
 
That would be awesome! Is there any chance of getting a translation of the text too? Though I'd be very grateful even for just pictures.
 
the latest interview with rei kawakubo from asahi





いい物は高いという価値観も… 川久保玲

コムデギャルソンが創設から今年で40年を迎えた。常に新しい創造性を打ち出すことで前衛派の旗手としての役割も果たし続けている。長引く不況で一部の低価格ブランドを除いて売り上げが低迷する中、コムデギャルソンはその反骨精神をあえて示すかのような策を次々と打っている。突破口は開けるのか? デザイナー兼経営者としてブランドを率いる川久保玲に聞いた。(編集委員・高橋牧子)



――服を売らないアートスペースを大阪で8月に、博物館のような店を東京で11月に開いた。

 服以外のものにも少し考えていることをプラスして「ああ、ここの服はこういうものなんだ」と思ってもらえる場にしたかったのです。遠回りですが服を買うのにはそんな回路や順番があってもいいと思う。私にとって表現の場や方法論の中で服はその一部にすぎず、店もその一つなのです。効率的に売ることだけを考えているとファッションの先がどんどん見えなくなる。そういう状況の中で、1人であがいている感じですが。

――最近の安さ、早さを求める傾向への抵抗でも?

 若い人たちが考えたり作ったりする楽しみや必要性を忘れていくのが心配なのです。たとえば、ジーンズ1本が何百円なんてありえない。どこかの工程で誰かが泣いているかもしれないのに、安い服を着ていていいのか。いい物には人の手も時間も努力も必要だからどうしても高くなる。いい物は高いという価値観も残って欲しいのです。

 ――H&Mやルイ・ヴィトンとのコラボや、価格を抑えた「エマージェンシーブランド」と、ハッとするような企画を次々と。

 何かいつも、新しいこと、強いものをと思っていて、それを続けていないと次が生まれてこないのです。自分が活動的に何か新しい物を生み出せば、それについて何かを感じたり、元気が出たりする方もいらっしゃるでしょうし、それがこの世の中を変えていくことに少しでもつながるならと思うからです。

――レディースとメンズだけでも年4回の新作発表。その創作の最初の手がかりは?

 ほとんど何もない、何か海の中の一つの石を探すような感じですね。ずっと考えているうちに何かこうぽつんぽつんと浮かんできて、ある日それがフォーカスされてテーマらしくなるのがパリ・コレのほんの2、3週間前。いつもその途中で3回ほど、どうしようもなく不安になる。でも誰でも、何を作る人でも同じですよね。そう思ってなんとか耐えています。

 ――ジュンヤ・ワタナベとタオを含めた3ブランドの共存は、パリ・コレでもまれなこと。

 3人ともが「前回よりも少しでも先に」と思って、同じ会社の中でそれぞれ自分と戦っていることがエネルギーになっているのかもしれません。でも、創造性で頑張り過ぎると売れなくなる、という微妙な問題もあるし……。結果的に支え合っていることで強くなれるとは思っていますけれど。

 ――不況下で経営難に陥るブランドと違う点とは。

 日々数字のチェックをしていて、何か手当ての必要を感じたらすぐに手を打つ。その早さと、一方で目の前のことだけでなく長いサイクルで対応しなければならないことを常に考えています。売り上げにはプラスになってもコムデギャルソンらしくないことはしない、というような。

――反骨精神は、何に対して?

 自由に生きていきたい、皆が幸福でなければならないと思っても、そうできない世の中の仕組みがあります。それに、人間はそれぞれ生まれてきても決して皆同じじゃないし、同じものをもらってないわけですよね。そういうどうにもならない不平等の中でも、自分は自分だって頑張って生きていかなきゃならない辛(つら)さがある。不条理って言ったら言い過ぎかしらね。子供の頃からずっとそういうものに怒りを感じてきました。その気持ちを今後も持ち続けたい。

 ――いま社会が大きく変わる中で、正統に対する前衛的な創造ということの意味も変わってくるのでは?

 私のしていることはずっと同じです。周りが少しずつ変わって、その時々の社会やムーブメントに合わせて語られてきただけ。たとえば、私は80年代からライダースジャケットを着ていましたし、いつも同じスタイル。私自身の在りようや気持ちの中は何も変わっていないし、これからも変えるつもりはありません。



for the last part:
-- with the rapid change of the times, what the avant-garde creation as against the classic means is changing?

what I do has been the same. it's just that it has been talked about in accordance with the interpretation of the society or movement of each time, surroundings having been changing little by little. for example I have been wearing the rider's jacket since the 80's. my style has been the same. the way I am and things in my mind have never been changed, and I'm not going
to change them.


asahi.com
 
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was this posted ????

if so, feel free to erase ...

ReFUSING FASHION: REI KAWAKUBO
February 8 through April 20, 2008


One of the most elusive fashion designers in the world, Rei Kawakubo of Japan, is known for remaking the forms of clothes. Her sweaters full of holes, jackets with only one sleeve and dresses that are part dress and part pants are unique, yet always wearable. She says she wants to "design clothes that have never yet existed." Her innovative fashion, unique methods of fabrication and collaborations with artists working in many different fields including the great modern choreographer Merce Cunningham, will be explored in a unique installation of her work at MOCAD. The exhibition will include over 40 key garments, costumes from and film of the Cunningham performance, photographs, runway footage and ephemera.

The exhibition ReFUSING FASHION: REI KAWAKUBO aims to present a view of Kawakubo's work as a series of interventions and dis-ruptions in the arena of style and fashion: whether her work is thought of as anti-fashion in the world of fashion, or of ugliness and clumsiness in a system classically devoted to good taste, Kawakubo's work is a constant process of renewal of vocabulary and thinking.

Rei Kawakubo (b. 1942), established the high fashion house Comme des Garçons in Tokyo in 1973. Kawakubo's concepts originate from her education in fine arts and literature rather than a formal fashion design training, and incorporate elements from the famed Fruits subculture of the Harajuko district of Tokyo. Driven by concepts, she is known for conveying her ideas verbally to her patternmakers to interpret. Kawakubo is considered a key figure in re-defining sexual identity in new terms of feminity, and is often discussed in the company of such figures as Coco Chanel, Elsa Shiaparelli, and Vivienne Westwood. With the introduction of her line in Paris in 1981, Kawakubo created a sensation with her androgynous and innovative design, and solidified her stature as one of the three major avant-garde designers from Japan, alongside Issey Miyake and Yohji Yamamoto.

From the stunning architectural interiors of her stores to the provocative makeup and styling of her models on the runway, Kawakubo has consistently managed to challenge conventions with each facet of her presentation. Kawakubo's broad-based design practice has included collaborations across genres, including architects and artists such as Steven Meisel, Gilbert and George, Francesco Clemente, Philip Johnson, Julian Schnabel and others. Her designs have inspired a generation of new designers including such luminaries as Martin Margiela, Ann Demeulemeester, Helmut Lang, and her own protégé Junya Watanabe.
there is a catalogue :

ReFUSING FASHION: REI KAWAKUBO
Linda Dresner, Susanne Hilberry and Marsha Miro; Editors
Price: $35
AVAILABLE FOR PURCHASE NOW; WILL BE SHIPPED ON OCTOBER 27, 2008
The catalog to accompany last winter’s ReFusing Fashion: Rei Kawakubo exhibition will be available soon. Filled with beautiful installation photos and thoughtful essays about Rei Kawakubo’s remarkable designs, the catalog highlights the self-proclaimed “artist/businesswoman’s” awe-inspiring life and career.

since tFS isn't working properly, i prefer to post pics later ....
 
Takenori Otake

I don't know much about this designer, but according to a Pittsburgh Post article in 1981 (http://news.google.com/newspapers?n...mQdAAAAIBAJ&sjid=01wEAAAAIBAJ&pg=6334,3955644), he was born circa 1951, began designing clothes circa 1974. He is also mentioned and his work illustrated in the article I posted above.

Here is one of his pieces, an interesting early to mid-80s kimono with his Takenoko label. It has the same baggy, deconstructed feel as the early 80s CDG and Yamamoto pieces.

to1.jpg


to2.jpg


pics by me
 
when i saw your mikli x montana ... i knew you went shopping !

love you, man !
 

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