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Yohji, Or How I Learned to Stop Worrying and Love The Looser Fit (Yohji Yamamoto Thread) - Page 33

post #481 of 5822
Thread Starter 
Shame I am all tapped out with purchases would have picked this up as well biggrin.gif. Trying to get a few size 3 jackets for a slightly closer fit (you never know when you need 'em)

Good luck with the sale though icon_gu_b_slayer[1].gif
post #482 of 5822
just wanted to say that this morning as i was having a cup of coffee i had on a white tee, so i threw on y's ramie blazer along with wide summer-weight wool damir trosuers and it was stunning bigstar[1].gif

still too cold for such an outfit though i suspect come spring-time i'll be wearing it quite often.
post #483 of 5822
Thread Starter 
Damir really goes well with a lot of Yohji. Hopefully I will be able to get the cotton/silk/metal dropcrotch pants from this season as those look awesome as well.

Speaking of other designers that go well with Yohji, have you guys seen the SS12 Sasquatchfabrix collection? It's their own take on a meeting of Japanese and Western dress (they even have hakamas) and quite a few of the pieces look like they will go well with Yohji as well. Like quite a few of the tops, pants and shoes.
post #484 of 5822
Sasquatchfabrix is indeed quite nice...i had the opportunity to handle a number of their pieces while i was in Asia last year...slightly more casual, but the quality of the garments were quite good...i agree with you Ivwri, their play on east meets west blends fairly well with Yohji's work...

While the silhouettes for Damir work well, i still find some of the drappiness of Damir to be slightly off-putting, but there's no doubt that the quality is there...

I'm actually finding myself more and more intrigued by Siki Im....though some of the buys i've seen (Blackbird) may not appear to be that appealing...Fall/Winter 2011 was quite strong and the quality of the garments are excellent....his trousers in particular blend in nicely with the Yohji look....a handled a pair of dropcrotch wool trouser last season that were superb....very full silhouette, but still flattering.
post #485 of 5822
Thread Starter 
Funnily enough was just looking at the Siki Im thread over on SZ and it also looks pretty intriguing in terms of fuller cut stuff that can blend with a Yohji wardrobe.

Have never handled any of his stuff before though, but only heard good things. Might try and see if I can find a boutique in France or Germany that stocks the brand when I travel to Europe later this year.

Really liked the quality of materials and construction of the few mainline Damir items I have handled in person as well.

EDIT - Anyone have any recommendations for shirts that go well with YY?
Edited by Ivwri - 2/23/12 at 10:28am
post #486 of 5822

Yohji always seems to underline the fact that his clothes are produced in Japan, however, while browsing Ebay I've noticed that some pieces are "made in France". Is this simply one of those "made in Italy" type things? Also, I've also noticed some pieces (like this jacket) with a size M, something that isn't referenced in the sizing guide on the first page. Is an "M" the same as a medium in "normal" clothing or, as I assume to be the case a Yohji medium, meaning a 3 or 4?

post #487 of 5822
Siki Im is definitely a winner....i have yet to handle their spring/summer items, but the fall/winter items in the past have been good...solid construction and fairly luxurious fabrics...

I second a request for good shirts....i also find shirting that works well with Yohji to be difficult to find!
post #488 of 5822
Quote:
Originally Posted by wireartists View Post

asobu, that's one of my favourite collection after 99. It's just perfect...

I agree, it's brilliant. icon_gu_b_slayer[1].gif

I thought - in anticipation of the AW12 women's show which is a mere 8 days away at this point - I'd post some more women's stuff from time to time until that show.

So, what better place to start than one of the best shows I've seen? Also, I guess sort of a spiritual predecessor to the japonism of the SS 2002 collection I just posted, he did two kimono themed collection for 1994-1995 (AW94-95 and SS95). As it happens, the AW94 show was posted on Youtube yesterday! This channel has posted some older collections the last couple of weeks, including the famous pinocchio wooden dress season AW91, as well as SS92. Both of those are worth checking out.

But for AW94, this is just breathtaking stuff. So goddamn good I can barely comprehend what I just saw, this is practically perfect to me. His take on transforming the kimono patterns, all the intricate layering, cutting, draping, the prints, breaks with white and color, the lightness. Here he seems to have done those illusionary super lowered shoulderIines he also did for AW00, fucking great stuff. Love how these light fabrics are paired with heavy boots. The whole vibe, pacing, music, the plain models... fantastic stuff. I'll post part 1 here, the rest can be linked from there. this is a must see.



Edited by asobu - 2/23/12 at 11:41am
post #489 of 5822
Thread Starter 
Thanks for posting that asobu. That channel is really cool as well. Loads of videos I hadn't seen before. Downloading them all off in case the owner vanishes for some reason lol8[1].gif
post #490 of 5822
Quote:
Originally Posted by MyMindSpray View Post

While the silhouettes for Damir work well, i still find some of the drappiness of Damir to be slightly off-putting, but there's no doubt that the quality is there...

for better or worse, he's tending toward a luxury brand now (even moved his shop accordingly) and so, while still somehow trying to hold on to his defining characteristics, I see much more tailored work in his collections. just the sheer number of blazers being released in less absurd cuts is indicative of this. The upcoming himalayan shaman collection completely negates what i've written for the most part, but the past few shows have highlighted this trend in any case.

just a note, the trousers are very lightweight wool with slight drop crotch but still very much wool trousers (as opposed to sweatpants or something rick would put out) and DD button up shirts i think would do well with the longer cut but still somewhat slim(-ish) Y's line. of course I say that because I like the few pairings I have myself so take it for whatever it may be worth redface.gif
post #491 of 5822
Thread Starter 
Quote:
Originally Posted by Auburn View Post

I've been peeking around on ebay for Yohji things and have seen a few items, such as this jacket, with a size of "M". Is this a difference between mainline Yohji and Y's or something else? Yohji is always underlining his manufacturing process and how it is so Japan-based but I've noticed that some of his clothes are made in France. Is there are specific reason for this? Thanks for helping a Yohji newcomer out!

Missed this somehow.

Older Yohji sizing was S, M, L. I don't know the exact season that changed to the numerical system used now, but as far as I know it is used across mainline and Y's as well.

All the Yohji pieces I own are made in Japan, but even though he extols the virtues of and dedication to production in Japan, I don't think it would stop him from producing pieces elsewhere.
post #492 of 5822
The change happened between A/W 1999 and S/S 2000, from the year 2000 all sizing is numerical.

Some very old pieces seem to have been produced in France? I've basically only seen this on eBay. This has not happened in many many years. Recently he has produced a few pieces in China though the vast majority is still produced in Japan.
post #493 of 5822
Quote:
Originally Posted by Ivwri View Post

Thanks for posting that asobu. That channel is really cool as well. Loads of videos I hadn't seen before. Downloading them all off in case the owner vanishes for some reason lol8[1].gif

Haha, me too. God I hope they put up the SS95 show as well, and pretty much the rest of them. Of course if we could see some mid-90's men's shows that would be icon_gu_b_slayer[1].gif
post #494 of 5822
Thread Starter 
Quote:
Originally Posted by asobu View Post

Haha, me too. God I hope they put up the SS95 show as well, and pretty much the rest of them. Of course if we could see some mid-90's men's shows that would be icon_gu_b_slayer[1].gif

That would be awesome. So hard to find any clips or images from that period.
post #495 of 5822
Thread Starter 
Taken from The Fashion Spot -

Yohji bared the independent august 2002

Excerpt:
Quote:
His reassuringly human vanity notwithstanding, the designer is also aware of - and uncomfortable with - the fact that his main line collection is elitist. It is hugely expensive even by designer fashion standards for example, due to the sheer complexity of garments and the work that goes into making each piece.

"Naturally, this could be a minor part of fashion. It's not for everybody. That's OK but sometimes I think to myself it's a bit lazy because fashion has to be a bit more exciting, a bit more cheerful, a bit more dynamic than that." Confused? (There is, on more than one occasion, the distinct feeling that Yamamoto is attacking himself.) Well, so is the designer.

"With these double meanings," says Yamamoto, looking at the floor, every bit the guru as he shakes his greying head once more, "I am struggling a lot."

Even he, though, must be pleased with the reviews from his most recent collection - all nothing short of euphoric. "It's very clear," he told Women's Wear Daily at the time. "I rarely meet people wearing my clothes in the street. They are a specialised, selective thing." The work of other designers, Tom Ford and Marc Jacobs, he feels, is more broadly accepted. "When I pass by their shops, something is shining. Something is right for the time. Sometimes I feel out of it, I mean, I'm old. And sometimes I feel something is missing."
Full article (Click to show)
Quote:
Fashion has its fair share of obsessive personalities. Most obviously there are the foot fetishists - the Manolo Blahniks of this world, people who positively swoon at the sight of a finely turned ankle. Then there are those who worship at the altar of the traditional hour-glass figure - Gianni Versace, Azzedine Alaia and Thierry Mugler to name just three. But flick through a copy of Talking To Myself, an "illustrated notebook" on the life and work of Yohji Yamamoto published this month, and a rather more subtle form of adoration emerges. One lovely, smudgy black illustration after another is devoted to nothing more overtly sexual than the back. The long, willowy, discreetly erotic female torso, viewed straight on or from the side, is clearly the stuff that Yamamoto's dreams are made of.

The great Japanese designer is sitting in his small, private studio at the top of Yamamoto Paris HQ, struggling to explain this point of view. For Yamamoto, who agrees to face-to-face interviews only very rarely, expressing himself is always a huge struggle, apparently. His chosen location to do so is, all in all, a very humble affair - no flash interior design features, no huge intimidating desk to sit and pontificate across, nothing more than a basic armchair. The designer is wearing his personal uniform of white shirt and black gabardine trousers; Yamamoto is fashion's king of gabardine. He is a small, fine-boned man with a lined but extraordinarily handsome face, bearing the kind of introspective, gentle features and weathered demeanour that Rembrandt might have liked to paint.

"In the very beginning of my life," he says, very slowly and quietly, as befits a man who has by now attained mythical - even mystical - status, "I only knew my mother. She was a war widow, working very hard. Since my memory started, she was just working, working, working. So I was always looking at her back. I had double emotions about it. Firstly, I had to help her, try to make her life easier. But also, she was always leaving and I was always running after her. So, my ideal woman is always moving away from me. And I am saying, `Don't go, don't go.'"

If this response is hardly predictable then Mr Yamamoto is far from the average designer. It's not news that fashion still largely preoccupies itself with an over-stylised, inhumanly perfect Jessica Rabbit image of femininity, with its roots in glossy magazines and the Hollywood starlets of the 1940s, 1950s and beyond. For Yamamoto, this is clearly not the case: his aesthetic relies on the highly personal memories of a small, sensitive and very serious child.

"Unconsciously or consciously, I don't know," he continues, "it comes from a sense of missing. I think clothes should be made from the back, and not the front. The back supports the clothes and so if it is not properly made, the front cannot exist. And, at the same time, the curve of the back is very sexy."

And what of the front of the woman, I wonder. Is that not sexy too? "It's too much," says Yamamoto, for the first time not needing to pause for reflection - more often than not, the silence between questions is far longer than any answer. "The front is too strong." He laughs when he says it but insists that the bourgeois fashion ideal of big hair, red lipstick and sky-high heels is nothing short of "terrible" as far as he is concerned. "Where I was born," he told me six years ago now, the first time we met, "there were very many prostitutes. And they were wearing high heels and strong lipstick. And really, I was afraid. I was scared. Because they looked very, very wild. Very wild and scary. Not natural." Today, nothing much has changed. "I get sick when I see it," he says, shaking his head in dismay - you can almost hear his nerves jangling. "I'm always trying to do something else, trying to go somewhere else."

And go there he most certainly has. For more than 20 years now, Yamamoto has proposed an entirely different - entirely original - way to dress. It relies more on the intimate relationship between garment and wearer than on flash-trash high-impact effect and status. It has its roots in tailored menswear but is both extremely feminine and unusually humane. Above all, it concentrates on the volume of a garment and the gentle envelopment of women's bodies, as opposed to exposing them for all to see. Yamamoto, far from attempting to propose women cover up any so-called imperfections, positively revels in any asymmetry; for him this is a thing of beauty.

"I think perfection is ugly. Somewhere in the things humans make, I want so see scars, failure, disorder, distortion. If I can feel those things in work by others, then I like them. Perfection is a kind of order, like overall harmony and so on... They are things someone forces on to a thing. A free human being does not desire such things. And yet I get the feeling there are a lot of women who do not seek freedom; women who wear symmetrical clothes."

A woman in high heels and wearing heavy make-up would look nothing short of silly in Yamamoto's designs, which work with any idiosyncrasy lovingly as opposed to against it. But it didn't always seem this way. "By dressing women in low heels, I give them a different way of walking, of feeling, and of presenting themselves," the designer once said. But when, in 1981, Yamamoto first showed his designs in Paris, the fashion critics of the day were lost for words. Struggling to describe the collection of huge, dark asymmetric shapes in distressed fabrics and peppered with holes, worn with shoes that were dead flat, even rustic, they could come up with nothing more intelligent than "Hiroshima chic". With his former partner and collaborator, Rei Kawakubo of Comme des Garcons, Yamamoto grew up in the shadow of the Second World War. Even in his native Japan the women who wore Yohji Yamamoto were labelled, not entirely sympathetically, "the crows".

But for Yamamoto, any such adversity has only served to fuel his unswerving ambition to be part of fashion - and today he is a hugely dominant force - while maintaining an "anti-fashion" stance. Or, as he himself puts it: "I have always worked to the side of the centre. It has been very tough but it has always been like this."

The designer was born in Tokyo in 1943. His mother was a seamstress, his father was drafted and killed in the Second World War. "He went against his will," Yamamoto said in the 1989 documentary, Notebook on Cities and Clothes, directed by his friend Wim Wenders. "When I think of my father, I realise that the war is still raging inside me." After completing a degree in law at Keio University, Yamamoto turned his attention to fashion, working with his mother and graduating from the Bunkafukuso Gakuin school in the Japanese capital in 1969, before setting up as a designer in his own right.

Yamamoto describes himself as a boy. "When friends of mine, schoolmates, invited me to go fishing or running in the mountains, I joined them but I didn't join them in their way. I was always watching. I didn't like myself. I was a very quiet boy, always full of doubt."

Yamamoto's essentially very shy nature - he only rarely catches my eye as we speak - cannot detract from the fact that he is currently in the throes of what is known in the trade as a "fashion moment". After years of being marginalised as an "intellectual" designer - if fashion can ever be such a thing - and safe in the knowledge that he is always the proverbial fish out of water, he has recently signed a deal with Adidas to design a collection of sportswear. It started in autumn/winter 2001 with a limited- edition collection of trainers, all finished with the famous triple stripe. Since then, more than 50,000 pairs have been sold, "exceeding all our expectations", as Hermann Deninger, head of global business development at Adidas put it at a press conference in Paris last month. So excited were the powers that be that they have taken the collaboration further. With the first clothing collection currently in design and due to be launched for spring 2003, Adidas are forecasting that, in 10 years, sales will represent 5 per cent of total volume - that's close to $250m. This is quite a leap, given that worldwide sales of Yamamoto's main line hit a comparatively paltry $90m last year.

Yamamoto himself says his reasons for entering into the deal are, once again, entirely personal. "It is very simple," he says. "Here I am, a fashion designer, but here I am, a man, 58 years old. And I still care about my body. It doesn't work properly now but I need to come back to my imaginary good body. Then I have to go jogging, running, to find my body potential. At that time, I cannot find any jogging pants, sweat jackets, nothing. It is all awful." Which means, and he says this as if it were the most obvious thing in the world, "I can't run."

His reassuringly human vanity notwithstanding, the designer is also aware of - and uncomfortable with - the fact that his main line collection is elitist. It is hugely expensive even by designer fashion standards for example, due to the sheer complexity of garments and the work that goes into making each piece.

"Naturally, this could be a minor part of fashion. It's not for everybody. That's OK but sometimes I think to myself it's a bit lazy because fashion has to be a bit more exciting, a bit more cheerful, a bit more dynamic than that." Confused? (There is, on more than one occasion, the distinct feeling that Yamamoto is attacking himself.) Well, so is the designer.

"With these double meanings," says Yamamoto, looking at the floor, every bit the guru as he shakes his greying head once more, "I am struggling a lot."

Even he, though, must be pleased with the reviews from his most recent collection - all nothing short of euphoric. "It's very clear," he told Women's Wear Daily at the time. "I rarely meet people wearing my clothes in the street. They are a specialised, selective thing." The work of other designers, Tom Ford and Marc Jacobs, he feels, is more broadly accepted. "When I pass by their shops, something is shining. Something is right for the time. Sometimes I feel out of it, I mean, I'm old. And sometimes I feel something is missing."

No such modesty was in evidence last month at the opulent Paris opera house, where one tenderly conceived outfit after another emerged. There were the all-in-ones Yamamoto borrows from the costume of men at war, with which he remains preoccupied to this day. There was the finest silk, fluttering around the bodies of the world's most beautiful women like the ultimate caress. Most remarkable was a strapless corseted ballgown - the top stood away from the body, directing attention at the swanlike shoulders and neck - so apparently simple but far from it.

The collection was almost entirely black and white - "like a drawing". Among his other accolades, Yamamoto, with Kawakubo, is of course responsible for giving this colour to fashion in the early 1980s - until then it was still largely the preserve of mourning. He says he did so - and does so today - because it is the only way he can concentrate his attention entirely on the structure of the clothes.

Talking To Myself contains fashion images inspired by Yamamoto's clothing shot by the world's greatest photographers. But this is more than a mere picture book; it also includes perhaps the most illuminating essay on his work to date. It is not surprising that this comes not from a fashion critic but from Yama-moto's friend, Kiyokazu Washida, philosopher and professor of the faculty of literature at the graduate school of Osaka University.

Washida points out that Yamamoto, throughout his career, has described his clothes as "shabby". "What he means by this is that they do not allow association with any of society's particular stereotypes." Whether they are worn by "the salaried employee or the artist, the journalist or the student, the elderly or the young, his clothes are, in fact, difficult to match with any concrete image, when seen at a glance. Rather, in defiance of any such identification, they are in a sense peculiarly abstract."

In the end, perhaps the most remarkable aspect of Talking To Myself are the designer's own words, which range from the playful to the melancholic. If Yama-moto's clothes are clearly autobiographical, his personal life is his own. But here's Yohji on alcohol. "Drinking puts me in a cheerful mood. I like all the confusion, like when I have to ask myself who I was or who I am. I am completely transformed by drink. I want to make people happy. I'll do anything to make sure they're enjoying themselves." And on life. "You know, I sometimes feel homesick. When I have this feeling of emptiness after a collection, I tell myself I want to go home... But I'm too old to be calling for my mother, don't you think?"

So, why has this intensely private man decided to talk about these things? "I think people think, `We still don't understand Yohji,'" he says. "I don't understand Yohji. So this has been a trial."

Trial or not, Yamamoto seems almost happy. And for a man who has always struggled with a mass of contradictions, and for whom the whole design process is clearly quite arduous, this is worthy of note. His work, he says, has indeed been painful until now. "But recently, I just said, let's enjoy."

Yamamoto continues to travel to Paris for the shows but is based in Tokyo, where he has three children. "Just one bed, a few books, one guitar, one bottle of whisky. That's home, that's enough," he says. "When I come back to Tokyo I don't feel I've been away. When I come to Paris, I don't feel I've been away either. I'm always in the same place."

And that place, despite everything, remains a mystery. "I'm still a secret, you know?" laughs Yohji Yamamoto. But of course. n

Read more: 1970s-1990s The Japanese Avant-garde - Page 15 - the Fashion Spot http://forums.thefashionspot.com/f116/1970s-1990s-japanese-avant-garde-25936-15.html#ixzz1nIFDJTjo
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