Yohji Yamamoto

[runner]

F/W 03

the first attachment YY pour homme
the rest Y's for men

.

 

[oversized]

just to make it clear since it started to be a bit confusing, those are from S/S 03 without doubt.
I have been talking about whether they were presented separately, because the original question is "when he started showing both lines together".

yes both floors look woody but YYPH one is definitely white in a margiela way while YFM one is sort of irregular in pattern and its color seems to have been somewhat worn away ( the pics below shot from a different standpoint ). also some of what look like piping on YFM are selvedge.

Yes, sorry, I think I caused that confusion. I initially thought you meant that YFM only did showroom viewings before F/W 03 (i.e. not runway presentations) so I got confused since YFM ss03 definitely is a runway show even if it wasn't joint with YYPH. Anyway, I think that clears it up. Big thanks for posting those Y's S/S 03 pics too, hadn't seen those before.

 

[runner]

you're welcome


last sunday yohji made a guest appearance in the literary columns of asahi where you are supposed to recommend a book.
as we expect, he was talking about ango sakaguchi.


asahi
amazon

 

[runner]

from fashionpress


.

 

[runner]

from the recent dog magazine interview


onebrand

 

[MulletProof]

^ adorable!!

 

[softgrey]

yeah- i knew yohji was probably a dog person...
limi definitely is...she's always putting pics of dogs on her instagram feed...
...

i think that the breeds of dog that are popular in asia are quite different from the dogs that are popular around here...
it's interesting...
makes me wonder what those dogs are like because i don't see them so often...

the dog seems to like yohji as well...
...

the new drawings/paintings are interesting...
short hair...
almost always looking away...
as if he is observing them in a private moment of thought...
intimate and a bit voyeuristic...
sweet and admiring...

i like the moments they capture...

thanks for the images runner!!!...

 

[softgrey]

RARE.
Yohji Yamamoto team 1995:
Tadashi Kubo - Yohji Yamamoto Pour Homme
Yukio Sato - Y’s for men
Yohji Yamamoto - Genius
Koji Nagano - Y’s
Ichiro Seta - Yohji Yamamoto Femme
Takayuki Kurihara - Production
Yoshifumi Motai - Yohji Yamamoto + Noir


dantebykiko.tumblr

 

[softgrey]

mr handsome...
ph:max vadukal

 

[softgrey]

darceldisappoints.com

 

[softgrey]

Yohji Yamamoto
movement.cc

 

[laika]

^great!

I'm listening to this right now and it's lovely...both ethereal and precise.

{amazon}

also, great pic of Yohji playing guitar for Sakamoto in 1999

{styleforum}

 

[runner]

you're welcome softgrey
she is a akita as a breed.



speaking of sakamoto, it seems that part of technodon/YMO was recorded in the basement of yohji's house (credited as "nishi-azabu studio"). then naturally the costume made exclusively for the technodon campaign, tour, etc was by YY.

I have a yohji's music video from this album below, but it's still in VHS which includes not only the YY F/W 97 but also junya, helmut lang, dries van noten from the same season.
now I think I have to pass it to droogist. it's best for the right person to have it.


fashionnews
gqjapan

 

[runner]

another musical yohji
from his school days


my snapshots of TV screen

 

[luckyme]

now I think I have to pass it to droogist. it's best for the right person to have it.


fashionnews
gqjapan

Yes, absolutely, she will be enthraled ...

 

[softgrey]

you're welcome softgrey
she is a akita as a breed.

ah!...
silly me..of course it is an akita...a japanese breed...
i knew there was something there, but, as i'm more of a cat person, i couldn't think of what it was...
...

thanks runner and laika!
fun stuff...

 

[softgrey]

• 
  Photo by Nicolas Guerin/Contour by Getty Images

Yohji Yamamoto: “People have started wasting fashion”

August 31, 2011
Mr. Yamamoto, film director Wim Wenders said that when he bought his first piece of your clothing, he was fascinated because it felt new and old at the same time, and he felt protected by it. Would you say that describes your clothes quite well?

My starting point was wanting to protect a human’s body. This is the beginning, actually hiding women’s bodies. This is about sexuality, about protecting it. From the very beginning of my career I was not very sure that I would become a so-called “fashion designer.” The term “fashion designer” sounded very light.
What do you associate with that term?
When I think about the image of a fashion designer I think about trends. I have to think about what’s new, what’s next, what kind of feeling customers want. It’s too busy for me. 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.
Over 30 years later, are people still too stuck up when it comes to what they wear?
I simply cannot stand people’s tendency to become conservative. There’s always a move back to established conventions, otherwise upcoming waves would be soon categorized as common sense. Even the term avant-garde – avant-garde is now just a tiny fashion category. It became so cheap and pretentious. I hate it. But still, I strongly believe in the avant-garde spirit: to voice opposition to traditional values. It is not just a youthful sentiment; I live my life by it. Rebellion. You will only be able to oppose something and find something of your own after traveling the long road of tradition.
You said in an interview that you hate fashion, yet you seem like you love it as well. Have you ever thought about giving it up? Quitting the fashion business?

About five or six years ago I felt strongly that my role was done. But nowadays, especially in Tokyo, New York and Los Angeles, everything is covered by fast fashion. Faster, faster, cheaper, cheaper. People have started wasting fashion. So suddenly, there was some space again for me to do something. Minor in terms of numbers, but there might be young people who have questions or doubts about this trend, they might be waiting for something to come back or for something new. So I said to myself: ”Yohji, you can continue to do your job. Don’t change. You can just continue to do it.” I told myself this last year.
Is that also the reason why you decided to publish your autobiography My Dear Bomb?

I got an invitation from the Belgium publisher Ludion, but yes it was a time, after all my company went through, to say “I am still here and I feel 10 times stronger!”
You seem to always do your own thing, but yet you are still bringing out collections twice a year like most other brands. Would you prefer to show whenever you please?
In 2002, I decided to show my ready-to-wear collection at the timing of the couture. I did it for 3 seasons. There were less people attending, so the possibility was there to have smaller places and allow people to actually hear the sound of the fabric. It was a very nice parenthesis.
Zac Posen told me in an interview that you influenced his decision to move his collection from New York to Paris. You said it is the only place worth showing. Why is that?
Paris is the place for establishing your brand as an international one.
How are your designs connected to your Japanese heritage?
Think of the association with Japan as an exotic exchange. It is fun. Japanese people, or Asian people, like European aesthetics and European people love Asian sensibilities. So as an exchange of senses it is all right. In that way I agree 100 percent. But when a paper writes about me, they start with “the Japanese designer…” We have to find a new vocabulary. I understand why European people take my creations as very Japanese. It is probably because if you see a creation as a whole, as 100 percent, I will always try to finish before arriving at 100. This five, seven, or ten percent we call empty or in between or uncompleted in Japanese.
Can you give me an example?

It’s when you go to shut a window or door and leave a space. We need this space, so I design space. Space has always been very important in Japanese traditional art of every genre – like painting, sculpting, or theatrical expression. The space of expression is even more important than the visual or written.
But you also still produce in Japan, which gives your clothes a certain Japanese feel because of the unique ways of treating fabric.
Maybe I will be the last designer who cares strongly about “Made in Japan”. If I stop, maybe young designers cannot afford to do business that way. It costs a lot; a Japanese man’s hand has become the most expensive in the world. So it’s my duty – not duty – it’s my desire to protect these small, traditional Japanese techniques. I use almost all family factories. The most important thing is to keep going, otherwise it will disappear.
Do you also live in Japan or do you spend the majority of your time in Paris where you present your collections?
I live in Tokyo. I only come to Paris around my fashion shows.
Which role does traveling play in your life?

Working time. I travel to Paris for Menswear and Womenswear collections in January, March, June, October, and to New York for my Y-3 collection in February, September.
How do you find peace within all these different places?
You need embellishment. You might be able to sleep with rock and roll music blaring full blast, but you can’t just have an absence of color. Transparency, that’s no good. I really enjoy being in cahoots with people, having fun with them, being connected. Equality, justice and all these values haven’t quite gone out the window, but we don’t find much evidence of them around either.

thetalks.com

i don't think this was ever posted here

 

[luckyme]

Berlin's Gallery Weekend Kicks Off With Yohji Yamamoto Runway Show

[FONT=&quot]By[/FONT] Melissa Drier
From:
WWD Issue 04/26/2013

PRIME CUTS: Berlin has always been a city that likes to link fashion and art, but this season’s Gallery Weekend got an exceptionally high fashion kickoff Thursday night with “Cutting Age,” a runway show of iconic pieces spanning much of Yohji Yamamoto’s career.

Presented in the cement interior of St. Agnes Church, soon to serve as an exhibition space for Berlin gallery owner Johann König, the Audi-sponsored event drew an interdisciplinary crowd. Alicja Kwade was among the artists in attendance, joining collectors Thomas Grässlin and Christian Boros, whose wife, Karen, walked the runway; Stefano Pilati; Cameron Silver; opera singer Nadja Michael, and, most notably of all, Yamamoto himself. This was the designer’s first show of his work in Germany, outside of presentations of Y-3, his 12-year-old collaboration with Adidas,

Thirty-six outfits from current and past collections took to the runway, his signature visions in black sharing the stage with any number of highly colored stylistic riffs. While melancholy is a word often used to describe Yamamoto and his work, neither the show nor the designer lived up to that characterization. It was a beaming Yamamoto who bounced on stage to accept the audience’s applause, pointing his fingers in a “you’re the man” kind of rock star gesture.

Asked if we should consider the show “Yohji’s greatest hits,” the designer said chance had a lot to do with the selection. “We have offices in Paris and Tokyo, and it was hard to find pieces in good condition in the archives. So we couldn’t include anything from the Eighties and had to start with 1992,” he told WWD backstage after the show.

While he hasn’t changed his critical stance regarding fast fashion, he said, “I feel a sort of new wind starting to blow…because people are tired with fast fashion and too expensive accessories. In the last two years, my company’s business has been going up and up.”

And, no, he’s not the last of his kind. “It’s not a question of generation but of how hungry you are,” he said. “So new young powerful designers are coming from Eastern Europe, Korea, Taiwan, maybe Brazil.” He’s ready to welcome them, noting, “I need rivals to fight with.”

“Cutting Age” was just the first part of a four-day Yohji-thon in Berlin, which continues with “An Evening With Yohji Yamamoto” at Soho House on Friday with Yamamoto conversing with architectural designer Asif Kahn about fashion, his label, his career and what 2013 holds for him. On Saturday, the video installation “5 Cuts/A Visual Dialogue” will premiere at the creative space Made, while on Sunday, Berlin’s leading conceptual retailer Andreas Murkudis will present “Untitled Berlin,” an installation designed by Masao Nihei, Yamamoto’s longtime set designer of choice.

 

[luckyme]

more...

 

[softgrey]

hopefully a video or something will turn up from that show at some point...
would love to see the rest of the looks selected...

you can just see how happy he is in Berlin/Germany...

glad to hear that things are picking up at the company...
go yohji, go!
...