The Circus of Fashion
By Suzy Menkes
February 10, 2013.
We were once described as “black crows” — us fashion folk gathered outside an abandoned, crumbling downtown building in a uniform of Comme des Garçons or Yohji Yamamoto. “Whose funeral is it?” passers-by would whisper with a mix of hushed caring and ghoulish…
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Maison Martin Margiela studio in Paris, rue Saint-Maur
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Le Corbusier, René Herbst, Pierre Jeanneret, Louis Sognot et Charlotte Perriand. La Maison du Jeune Homme, Exposition internationale de Bruxelles, 1935 (via !)
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“For some reason, I am moved by the female form, as seen from the side, or diagonally from behind. Like a feeling of waiting to chase after and restrain something that passes by, or passes through. You could call it a feeling of “missing” something. A lingering scent is the same. A kind of feeling of longing for something. There is always an adoration for women in me which resembles the temptation I have for things that have passed me by. And so I can only see a woman as someone who passes by, a person who disappears. Therefore the “Back” is important to me. 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.”
ー Yohji Yamamoto
Raf Simons AW13 Showroom
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Blinky Palermo, Coney Island II, 1975, Collection Ströher, Darmstadt, Germany, Photo: Jens Ziehe, Berlin.
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| ♕ | inside of Louvre | by © ck/ck | via ysvoice
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