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astoundingbeyondbelief · 5 months

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Kaiju Week in Review (November 26-December 2, 2023)

I wasn't over the moon when Toho announced that Takashi Yamazaki's Blockbuster Monster Movie was in fact the next Godzilla film. I had seen a few of his works—none bad, but none spectacular either. Well, I've set my sights on watching the rest in the new year, because Godzilla Minus One is an unqualified masterpiece. A tagline from the original Godzilla, King of the Monsters! comes to mind (as it often does when you're me): "Mightiest melodrama of them all!" A lot of the post-Showa films suffer from an abundance of characters who just spout exposition and look at monitors; here, almost everyone in the small cast gets at least one close encounter with Godzilla, and the monster's backstory is conveyed with extreme efficiency. This tale of a war veteran trying to rebuild his life in the ruins of Tokyo, stumbling into a family, finding fulfillment in blowing up leftover mines, and haunted by what he perceives as his cowardice in combat, would have been plenty compelling without Godzilla.

Since it does have Godzilla, it's high on my list of the best movies of the year, and I only need one viewing to call it one of the best installments in the almost-70-year-old series. Yamazaki patiently waited some 15 years after Always: Sunset on Third Street 2 for his shot at a Godzilla feature. You certainly get the sense, watching one of the most brutal, pissed-off incarnations of the monster ever to grace the screen, that he spent every day of it in preparation. Watch it often while it's still in theaters, and watch it big.

Godzilla Minus One will gross about $10 million in its U.S. opening "weekend", a third-place finish that beat expectations. For context, Godzilla 2000, the last Toho Godzilla film to receive a wide release here, made about $10 million during its entire theatrical run here. Ticket prices were cheaper then, of course, and Minus One was helped along further by almost half of attendees going to premium-format screenings. Conversely, it had to overcome Americans' subtitle phobia, and the first weekend of December is usually a slow one. I was pessimistic at the outset, but now I expect larger theaters to carry the film into the new year, especially with near-universal raves from critics and audiences.

Yes, a third section for Godzilla Minus One; it's well-deserved, I promise. MyKaiju is risking life and limb by hosting an English translation of the film's novelization, written by Takashi Yamazaki himself. It appears to be at least partially machine-translated, but the Japanese text is included for comparison. Haven't read it yet, as I want to see the film a second time first, but quite a breakthrough given how mysterious this sort of thing usually is.

Monarch: Legacy of Monsters could never hope to compare with the opening of a stellar new Godzilla film; unfortunately, I also thought this week's episode was the weakest so far. It's bookended by Frost-Vark action, but the rest just drags. All's forgiven if the teacher and the hacker smooch though.

Toho and Legendary used to let each other's live-action Godzilla movies breathe; now the U.S. opening weekend of one is coinciding with the opening marketing push of the other. IGN released a trio of pics from Godzilla x Kong: The New Empire, showing Kong with his axe; Dr. Andrews, Jia, and Trapper (Dan Stevens's character) in uniform; and Godzilla "evolving into a powerful new form." The same article included an interview with director Adam Wingard. Naturally, he didn't give away much... besides the return of Doug.

Earlier in the week, Legendary put out a trio of posters featuring Godzilla, Kong, and the film's antagonist, now christened Skar King. The taglines ("Unite" for our heroes, "Bow to Your King" for SK) sound like kaiju campaign slogans. Makes me wonder if, like Godzilla vs. Megalon before it, the movie will improbably capitalize on the presidential election next year. To steal a joke from Titanollante: Godzilla/Kong unity ticket? They'd have my vote.

Godzilla's new form, meanwhile, has already been spoiled by a T-shirt on Legendary's own site and some dire-looking Playmates figures. It makes sense that Wingard would want to have his own spin on the character after keeping the design from Godzilla: King of the Monsters for Godzilla vs. Kong. Hard to cast judgment without seeing the real design in full, but there's one particular detail I really like.

The film also has a booth at CCXP in Brazil, with a panel later today, so I think a trailer is incoming (the main reason I hammered out this whole post so quickly).

I missed this one last week: Tsuburaya announced an anime project called Ultraman: DARKNESS HEELS. The DARKNESS HEELS branding has been around for a while, spotlighting prominent evil Ultras—and, of course, Jugglus Juggler. No details on the anime yet, but if the Juggleman's there, so am I.

The big toy reveal this weekend was Super7's ULTIMATES! MaiGoji figure. Previous Godzilla figures from this line haven't lived up to the official photos, but hope springs eternal. It's $85 (much less than the MonsterArts); preorders started Friday. Other highlights: a Super7 ReAction figure of the original Godzilla's skeleton, which comes with a little Oxygen Destroyer, and a plush Mothra from Surreal Entertainment that can flip to imago form to a neck pillow-shaped larva.

#kaiju week in review #godzilla #godzilla minus one #monarch legacy of monsters #godzilla x kong the new empire #ultraman darkness heels #kaiju

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onyv · 4 months

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ART NOUVEAU

Art Nouveau appears at the end of the 19th century and spreads widely across Europe and the United States. It draws inspiration from the Japanese, Oriental, Byzantine and Celtic arts as well as Impressionism. The peculiarities of the style are highlighted decoration and strong interest in the ornament and curve line. Stylised floral motifs and human images combined with asymmetric compositions are used. The emotional suggestions that are inherent in style are: refinement, elegancy, spirituality, variability, expressiveness, romance, love, tenderness, nostalgia, dreaminess.

Origin of Art Nouveau.

On the one hand, it is the English Arts and Crafts movement from the middle of the nineteenth century and headed by William Morris. The basis of this movement is Morris's idea of affirming the value of handmade handicrafts against the industrial products. His followers replace cheap mass production with quality handmade items. They stem from the beauty of natural forms, the tradition of old medieval styles and folklore.

On the other hand, the ideas of Art Nouveau are also based on the works of Augustus Pugin, who seeks reforming society through the plastic forms of Gothic, which he considers to be the bearer of Christian values.The artists and designers of the 1990s developed the ideas of Puigin and Morris and enriched them with new forms and materials. This also determines the aesthetic basis of the new style. The materials used for everyday use are very high quality.

It has been assumed that all forms of plastic visualisation are equally valuable (until this moment it is believed that such activities are under the artist's dignity.)

The essence of Art Nouveau is that the art shape is particularly important, it is even more important than the content and even the most prosaic content can be represented in a highly artistic shape.

Another important aesthetic feature is the appearance of the female figure. Portraits of women are common in this style. The most common image is just a woman as a center of composition, in the way that the figure is an integral part of the ornament in the whole.

The art of posters is also developing in Paris.The emblem of this art becomes Alphonse Mucha. He designs theatrical posters and settings, but also made designs multiple packaging and patterns for mass consumption. Frequently used in them are stylised images of women whose long hair has been turned into complex decorative ornaments.

Like many of his peers Toulouse Lautrec follows the principles of Japanese engraving, which is based on the flat construction of the shapes, the exaggerated facial expressions and the strong theatrical compositions. The objects of his inspiration are dancers, actresses, singers, courtesans. He works a lot in the field of poster and advertising, raising this genre to the level of real art.

Gustav Klimt is the leading figure of the Vienna Secession. His works are very decorative and filled with erotism. Again, the woman is his main inspiration and is elevated to a cult.

In conclusion, Art Nouveau is one of the last attempts to create a common style in plastic arts, architecture, interior and furniture design, poster, book design, and more.

The aim of the architect, the artist, the designer is the creation of a synthetically complete work of art that enters the private life of man through the items that surrounds him. That's why this style is cosmopolitan.

As far as Art Nouveau artists and designers are concerned, it can be said that they develop and enrich the ideas of Pugin and Morris, and because of everything listed above we can define their work as a top-class art.

#art nouveau #gustav klimt #toulouse lautrec #alphonse mucha #wtbenda

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brokehorrorfan · 28 days

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Death Machine will be released on Blu-ray on May 21 via Kino Lorber. Celebrating its 30th anniversary, the 1994 cyberpunk horror film features new cover art by Jean-Baptiste Chuat & Ronan-Wolf Chuat with the original poster on the reverse side.

Stephen Norrington (Blade, The League of Extraordinary Gentlemen) makes his feature directorial debut from his own script. Brad Dourif, Ely Pouget, William Hootkins, John Sharian, Martin McDougall, Andreas Wisniewski, and Richard Brake star. A young Rachel Weisz appears in a small role.

The two-disc set includes three cuts of the film: the 100-minute U.S. version, the 122-minute international version, and a newly created 106-minute director's cut. Special features are listed below.

Disc 1:

US cut (100 minutes) newly mastered in 2K from an interpositive

Audio commentary by Horror-Fix.com's James G. Chandler and Ash Hamilton (new)

US theatrical trailer

Newly created director's cut (106 minutes)

Audio commentary by writer/director Stephen Norrington and film historian Michael Felsher (new)

Technical audio commentary by writer/director Stephen Norrington (new)

Audio conversation with writer/director Stephen Norrington and creature creator Alec Gillis (new)

Isolated score

7.1 Surround and Lossless 2.0 Audio

Disc 2:

International cut (122 minutes)

Interview with composer Crispin Merrell

Interview with editor Paul Endacott

Interview with costume designer Stephanie Collier

Interview with producer Ray Burdis

Interview with co-producer Stuart St Paul

Artwork & design gallery

Behind-the-scenes still gallery

German theatrical trailer

Japanese theatrical trailer

Japanese behind-the-scenes promo

The year is 2003. Chaank Industries, ruthless world leaders in future weapons technology, hires a new Chief Executive, Hayden Cale. Cale soon uncovers a secret and unethical weapons project the company is involved in. Her first order of business is to shut it down. Her troubles just begin as she also tries to fire the company technological mastermind, Jack Dante—a childlike psychotic with a dark genius for exotic weapons design. Dante retaliates by unleashing into the corporate headquarters the Death Machine—the ultimate killing unit. A weapon that tracks its target by sensing fear and has the power to rip through walls with its hard steel strength and razor teeth. Cale must wage a desperate bloody battle with the terrifying force that has no mercy, no pity and no fear.

Pre-order Death Machine.

#death machine #brad dourif #richard brake #rachel weisz #horror #90s horror #1990s horror #kino lorber #dvd #gift #stephen norrington #blade #cyberpunk #Jean-Baptiste Chuat #Ronan-Wolf Chuat

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demifiendrsa · 11 months

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Actor Michael B. Jordan visited Studio Pierrot during his trip to Japan to promote the Japanese theatrical release for Creed III.

Jordan received a shikishi from Naruto anime animator and character designer Tetsuya Nishio. In return for the shikishi, Pierrot received a Creed III movie poster signed by Jordan. (1,2)

#Michael B. Jordan #Naruto #Tetsuya Nishio #Studio Pierrot #Creed III #Creed 3 #Creed #anime #film #live action #live action film #late post

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mia-tiny · 2 years

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『 Hongjoong & Shibari 』 | KTB ‘22

⇒ pairing: k. hongjoong x fem!reader

⇒ smut, shibari (japanese bondage), light spanking, vibrator, fingering, softdom!hongjoong

⇒ word count: 729

💕 view my masterlist here

🖤 view my Kinktober ‘22 masterlist here

⇒ author’s note: I just need everyone to know that I am OBSESSED with oreo Joong

“Hold still, baby,” Hongjoong commands sweetly as he continues tying the thin red rope around your ankles. A similar restraint has already been tied around your knees, holding your legs together.

He has you standing near the bed, bent over at a 90 degree angle, with criss-crossing patterns of rope adorning your torso and leaving your breasts exposed. Your arms are stretched behind your back and tied to the top of the four poster bed frame that you two purchased just for scenes like this.

Early on in your relationship, you two had started experimenting with simple restraints such as handcuffs or neckties, but you both loved the practice so much that you decided to explore further into the art of shibari. Hongjoong, who was especially fascinated, had immediately begun studying all types of knots, suspensions, and designs.

Since then, the practice has become commonplace for you two. Many times, the act isn’t even sexual. The process of tying you up in such intricate patterns has been a perfect way to build trust in your relationship and discover new ways to be intimate beyond just sex. Hongjoong also loves being able to explore every part of your body and learn more about how he can best please you. Tonight, however, you’re both looking to take things further in addition to the bondage.

“Is that too tight?” he asks as he finishes off the final knot. You wiggle around in the rope just lightly to test out the feel before letting Hongjoong know it is alright.

He moves to stand behind you, his hands caressing your exposed skin and admiring his work. The feeling of the rope against your skin, combined with his gentle touch, sends a shiver down your spine.

“So sensitive tonight,” he chuckles amusedly.

He strolls across the room to the wardrobe and you fight the urge to look and see what he is preparing. Thankfully he only takes a few moments before he is back, his finger moving to trace along your wet slit. The friction is just enough to earn a soft whimper from you.

Without a word from Hongjoong, you suddenly hear a quiet buzzing and have no time to realize its origin before you feel the wand vibrator pressed firmly against your clit. The unexpected feeling causes you to gasp and squirm in your restraints.

“Didn’t I tell you to hold still?” he asserts more dominantly this time.

“I’m sorry,” you murmur, your mind only focusing on the pleasure in your core.

He lays a few smacks across your bottom, just enough to turn it a pretty shade of pink, before increasing the speed of the vibrations once, twice, and then three times to its highest setting. The intensity of it has you moaning his name theatrically as you try not to inch away from the overwhelming pleasure.

“Does that feel good, baby?” he teases, knowing just how amazing you are feeling right now. “Let me make you feel even better.”

He sinks his middle finger into your wet pussy and curls it to perfectly rub against your g-spot, eliciting a pitiful whine from you. He slides in a second digit and begins fingering you at a quick pace. Your muscles constrict around him from the build-up of your orgasm and you can feel your legs starting to shake.

“Can I please cum?” you ask submissively.

“Not yet.” His answer is cold and firm, leaving you to desperately fight off your impending high.

“Hongjoong, please,” you beg, tears pricking at the corners of your eyes.

“No.”

With his denial, you are afraid you won’t be able to obey his orders much longer. The strength in your legs is starting to give out and the way he continues to expertly finger you makes the challenge a thousand times harder. You are just seconds away from orgasming when he finally says it.

“Cum.”

You fall silent as the euphoric sensation causes your body to quiver and squirm under the red ropes that hold you hostage. Hongjoong removes his fingers, but mercilessly continues to press the vibrator against your clit until tears spill from the overstimulation. He finally sets the toy aside and kneels down in front of you so that his face is level with yours. He sees your blushed, tear-stained cheeks and places a soft and caring kiss on your lips.

“Ready to continue?”

─── ･｡ﾟ☆: *.☽ .* :☆ﾟ. ───

Taglist: @minkysmilk @annaflwrs @han8ul @whatudowhennooneseesyou

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coredrill · 10 months

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GURREN LAGANN THE MOVIE 15th ANNIVERSARY SUMMARY:

Both movies will have theatrical runs in Japan (2D & 4DX), North America (4DX), and Taiwan (2D & 4DX).

Gurren Lagann the Movie 15th Anniversary Screening Trailer: https://www.youtube.com/watch?v=mXyb4ddnGrk

Booklets (one for Gurren-Hen, one for Lagann-Hen) with new production information will be distributed with both films during Japanese screenings.

4K UHD Blu-Rays of the movies will be released on September 27, 2023.

Gurren Lagann the Movie 4K UHD BD PV: https://www.youtube.com/watch?v=zi_XvL4o7yI

A new poster for the movies’ anniversary screenings has been drawn by Sushio. It is the first piece of official Gurren Lagann art produced by Studio Trigger.

More information can be found at https://gurren-lagann15th.com/

#gurren lagann #tengen toppa gurren lagann #ttgl #sorry this post is kinda pretentious i just wanted everything in one place for my sake lmao #CRIES. I LOVE YOU GURREN LAGANN!!!!!!!!!!!!!!!!!!!!#a: ttgl #t.ttgl

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retrosofa · 9 months

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Snagged a copy of Hans Christian Andersen's The Little Mermaid on betamax. The cover uses artwork from the original US theatrical poster. Although it's a bizarre Americanizing of the original Japanese artwork, I still really like it.

#the little mermaid #andersen douwa ningyo hime #hans christian andersen's the little mermaid #my scan

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pastelplushie64 · 2 years

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I wanted to put my Japanese skills to the test, and so attempted to translate this Japanese poster for 9!

Fun Facts:

The movie goes by the subtitle 「9番目の奇妙な人形」 (pronounced as “kyū banme no kimyō na ningyō”) in Japan, which translates roughly as “The 9th Strange/Curious/Odd* Doll”

*This descriptor is interchangeable, but Strange seemed to be the most consistent translation!

The movie was released in Japan 10 months after the iconic American 09/09/2009 date, under a 'Roadshow Theatrical Release' format, which meant that it would only screen in select theatres across Japan for only a limited amount of times.

The original short film made by Shane Acker in 2005 was also screened with the movie in even smaller quantities.

There's a blog that ran between the months of April to July that advertised the movie, along with giving updates for new screenings and mentioning some Japanese exclusive merchandise.

I've currently ordered a copy of the DVD from a Japanese source, so if I end up translating lines and scenes from the movie, I may post more about it in the future!

#shane acker's 9 #9 2009 #9 film #9 movie #9

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ricisidro · 1 month

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New #Oppenheimer poster in #Japan, the biographical film winner of 7 #Oscars will finally be released in Japanese theaters on March 29 after almost a full year of its theatrical released in the US and Europe.

To the nationalists in Japan, Oppenheimer is the man responsible for the creation of the weapon used to destroy the cities of Hiroshima and Nagasaki.

About 140,000.people died in #Hiroshima and 74,000 in #Nagasaki when the #US dropped #atomicbombs in these cities at the end of #WW2.

#radiation #nuclear #hibakusha

#oppenheimer #poster #Japan #Oscars #Hiroshima #Nagasaki #atomic bombs #US #WW2 #radiation #nuclear #hibakusha

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muramatsu-takehiko · 2 years

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新劇交流プロジェクト2　『美しきものの伝説』　B1ポスター

Seven theater companies exchange project “Legend of beautiful things” Posters （B1 size／2022）

Links B1 ポスター / B1 Posters　ver.大入り / ver.full-house リーフレット / leaflet　B2 ポスター / B2 Poster A4 チラシ / A4 flyer　仮チラシ / Teaser flyer　 2020年版 / Ver. 2020

新劇交流プロジェクト『美しきものの伝説』のポスターをB1サイズへリサイズしました。

女性の絵は大正期に活躍し急逝した橋口五葉の『髪梳ける女』より引用しました。

チラシやB2ポスターともレイアウトが異なります。同一ルールの中で変化させ、複数のイメージによって動きを強調させようという試みです。

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thucydideskongquest · 1 year

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Promotional poster for the 1975 Japanese theatrical release of Goncharov (1973, dir. Martin Scorsese)

#film history #goncharov

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infinitycutter · 1 year

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Mémoire de la Mode - Yohji Yamamoto

by François Baudot (1997)

Those who wear my clothes try to assert a single opinion,” says Yohji Yamamoto. This essential way of thinking about fashion, which he has succinctly expressed for more than 20 years, sums up his own creative activity. In contrast to the extremely rich era of haute couture, the glorious side of prêt-à-porter, and the futurism of the avant-garde, Yamamoto, a Japanese man, asserts the strength and difference of Yamamoto's style in a small but decisive way by returning to clothing archetypes, choosing neutral expression, and employing a simplified palette and register. The return to traditional Japanese patterns and the use of a more neutral expression, a simplified palette and registers (designs), all of which gradually but definitively assert the strength and difference of the Japanese style. Examining the couture of Paris as well as the traditional Japanese garments, the silhouette of his work explores a whole new realm of fashion appearance and behavior. In this turbulent century, more has emerged than has been raised in a thousand vears of fashion issues.

The couturiers who had been at the height of their powers in the 1950s were forced to admit that in the decade that followed, the power of the designers was slowly being established. These designers contributed to the growth of the big brand manufacturers,

The first generation of "young creatives" was born. The style of the young creators, a necessity for the majority of Parisians, would later suffer from a regimentation of Italians who were transformed into better and better supporters.

Thus, from 1965 to 1985, many of the directions of couturiers and fashion creators in the bretaille were developed, loved, and organized. The focus, the baroque, the traditional exuberance, etc., were all confined to their own creations, which in the early 80's were documented by those who would be defined as "conceptualists". This expression of premillennialism is a new trend that emerged in the plastic arts between 1950 and 1970, in which ideas, qualities, and analysis of concepts and results took the place of the body of work through the artist's creative activity.

This is precisely the "opinion" that Yamamoto presents. The public art of dreaming is considered elusive, but it wants to approach the public from the outset, while focusing on the real.

Today's fashion follows artists whose work has not been consumed by the market economy for the last ten years or so, and minimalist artists are proud of their fame as somewhat distant successors to Marcel Duchamp. The monochrome paintings of Ad Reinhardt, the charcoal forms of Donald Judd, Sol LeWitt and Karl Andre, the ergonomics of everyday materials, the theatrical art of Janis Knellis, Mario Merz and Giulio Paolini, the so-called Arte Portuguera, are just a few of the artists who are represented. These variations of modern art are the most important examples of the modern art of the past. These variations of modern art tend to be all about integrating the everyday into the everyday life, to bring the short image back into its original role and to capture it from a new perspective, whether it is a block of paper, a torn poster or the neon lights of a metropolis.

Even if Yamamoto does not seek the status of a so-called artist, his later works show an unusual sensitivity to the currents of the times by not using an original approach to the body of art. It is the same as what the couturiers of the previous era showed against cubism, Russian ballet, or pop art. For example, Andy Warhol, in his hot tea in the 70's, uses the verbal expression "a department store is like a museum" and turns the expression upside down to "I like Rome, because it is a museum after all, like the department store in Bloomingdale’s".

Pulte Pozzella goes even further and uses the same primitive elements of this addition, such as scraps, shavings, starch, coal, etc., as the main ingredients of the original product. In the same way, amoto is one of the few who, in the turbulent thirties, reads a rupture with the traditional idea of "entertainment". Likewise, Yamamoto is one of the few who, in the turbulent thirties, reads of a disconnection from the traditional ideas of "entertainment". He is one of the few who reads a break with the traditional idea of "kogei", which until then had been considered fascinating!

In order to accept the bags, he redefined his own relationship with the male (or female) body, redefined the relationship between beauty and certainty, antiquity and the future, and memory and modernity in a way that has become a tradition in a context where most people have no separate understanding of the relationship between these things.

Black, "the silhouette of all silhouettes in the shadow of the ultimate plate," is the best weapon for questioning what we wear, as was the case with Chanel in the early part of this century. The collection is a true dress for shadows, encompassing the silhouettes of mystery, without house-cloths, anchors, or detailing. In the midst of a glorious body of beauty and a civilization that is unspoiled by any day, Yamamoto invented a new discipline: summiting. His originality has no national origins, no beginnings, and even the slightest pretension has been removed. In other words, "back to the core". This is his philosophy of hair persuasion.

His creations, which are the source of his ideas for means and costumes, represent the national trend toward the impractical idea of 1. In response to the definitive selection of the eponymous quality of "elegance," he transposed it into an environment that is recognized as beautiful and vernacular in our time. In its ascetic variations, Hara Shu's archaeological₴, or Sugata's style, continually reexamines itself, blurring the line between the ephemeral and the immutable. Thus, like all important events in the fashion world in the past, the "classic" is born.

The modern form of the dress is a secret, enduring elegance with contemporary significance.

The wealth of the world is maximized by the power of the mind.

His surname means "at the foot of the mountain". In 1943, he was born in Tokyo and grew up in a small town called Kogei.

He grew up in Japan, where his parents, both war widows, were the elders of the Imperial Japanese Navy. He grew up in Japan under the guidance of his father, a war widower, who was the head of the Northeast Asian Women's Association (NWA).

Without any certainty, he attempted to enter the elite society of Japan with the given discipline and purpose. However, he surprised his parents by finally deciding to return to their place. As a condition of working in the store, his parents wanted him to attend the famous cultural and artistic exhibitions. Although this was to help him learn the basics of the trade, it was a problematic, emotional, and busy few years for him. The only male student was Yamamoto, the highest paid student in the school.

The reason is that he was a student. The only thing that the remaining customers later asked for was a copy of Bali's latest model. But the hardest part of the evening was that whatever little money was made from it could be used for one's own production.

In 1UGU, Yamamoto enters a competition and receives a bariatric travel grant. He spent eight months in the heart of fashion without a single centimeter and without money. It was enougn to find work as a designer. He spoke no French, hardly spoke a word of the language, and made all kinds of tea instead. He was particularly interested in the bret-a-porter that was then emerging in Saint-Germain-des-Prés. He felt that he had become fascinated by this kind of artlessness.

After returning to Tokyo in 1972, he established the Y’s Company, which presented its first collection in Tokyo in 1977.

In 1981, he participated in a fashion show in Paris with Kawakubo. Later, in 1981, he and Kawakubo participated in a fashion show in Paris, which caused a sensation in Paris. At this time, the world's press was forced to decide where to go. The question was whether or not they would accept the change in fashion and fashion show format that had been working so well. While there was a lot of criticism about the show, there were also voices from the side of the fashion industry that were opposed to the show. The unknown artists were now in the limelight amongst the solder community.

The Liberation newspaper on the day of the show was titled "A leading role for Japanese in the French fashion world". Michel Claesol wrote: "The original surfaces that we will dye in 1982 will be worn for the next 20 years -

What Courrèges and Cartan proposed around 1200 as being applicable until the year 2000 AD is now as old as a Soviet science fiction movie. For a long time, French couturiers thought that couture, like science, was a way to right the wrongs of the past. But Japanese designers foreshadowed something when they wrote, "Japanese designers are preparing to make it possible for real families to quickly decide what clothes and accessories to wear when they have only 30 minutes before going out • • • •

This premonition was confirmed 15 years later when Yamamoto became a businessman as well as a creator. In 1981, he began to work on costumes, the cornerstone of conservatism, although he himself pronounced that he was not interested in money and had little of it. He was the first to take up the position of vice president of the company, and he was the first to be promoted to the position of president.

To accompany him, he thought he had to break the heavy connotation of the three-piece costume. As a result, he came up with a costume that was soft and dusky without escalating the extremes. The White shirts are an expression of neoclassicism without being harsh or authoritative.

Low folds, narrow shoulders, three-button jackets, pants that bend at the hem and narrow at the knee over well-polished shoes - all have had a decisive influence on the male silhouette for more than a decade. But he has the skill to weave in the constancy of the waterway, to put many men at ease who do not want to feel like victims of the mode. In a recent film set in Germany during the period between the two world wars, a dressmaker is accused of artificiality and of being "a man of the world".

The actors are dressed in Yamamoto style without making anyone feel "retro".

If fashion is about clothing, it is not essential. But if fashion is to feel our daily life, it is not indispensable. Painting, crimping, and other art forms,

There are very few things that can directly influence people, such as fashion and music, which are inexpensive. Fashion is the essential and only communication about the sensations of a generation of people who wear what they want to wear.

Yamamoto is the most philosophical of fashion creators. The wildest of the wild rivers. But perhaps he is the most disillusioned of all.

Making clothes is about people. I always want to meet and talk with people. That's what interests me the most. What do they do? What do they think about? What kind of life do they lead? After thinking about these things, I get to work. I start with the fabric, the material, and the "touch" of the fabric, then the form. Touch is the most important place for me. Once I get into the material, I am obsessed with the material becoming form," he functions. All of Yohji Yamamoto's garments start from two points on the chain. From there, the fabric flows down in the best possible way and the material remains alive.

When he quietly entered the over-accessorized, organized, and glitzy world of Parisian prêt-à-porter in the 1980s, Yamamoto's designs were plump. At the time, Yamamoto's designs were plump as he quietly entered the world of Parisian prêt-à-porter in the 1980s. The fabrics he incorporated into his details were so close to the body that they never touched it. His clothes were generally thick, translucent, and dark in color, sometimes without embellishment.

The medieval simplicity is accompanied by an "old-fashioned" effect. The simplicity of the Middle Ages is accompanied by a "worn-out" effect, which some have labeled "afterpunk" (grunge did not exist then). The passing of time is etched and the matted accessories are familiar.

This aversion to novelty can already be seen in the British dandies. They would intentionally make their boots look old, or allow their servants to wear their "camel's fur" for a year or two before wearing it themselves.

The extremely large capes, misshapen cloaks, and unrealistic symmetrical jackets are all the result of the creator Yamamoto's dream: "My dream is to design time. Symmetry, the symbol of perfection, lacks something human.

He confides in Wim Wenders, who entrusted him with a feature film. The scissors and the fabric reverse man prefers to base his work on something truly human. Therein lies his point of departure. For example, the authorship of the clothes worn by hundreds of unknown models.

During both World Wars, he was the model for the photographer August Sander, a worker of the most German men and women. The bungalows, the salovettes, the fishermen workers. The world of the photographer's own world is also engraved in the crosswalker's layered attire all the way down to the soles of his shoes.

The clothes that suit the person wearing them disappear before the personality of the person who chose them. Yamamoto is : "Whether a season's fashions are White or White

White is not the responsibility of the creators, but the responsibility of those who see and buy them. Where is the Japanese touch? World citizen Yamamoto admits to having discovered his own style by examining the history of fashion, especially couture. As for his appearance as a native of Japan, he says, "Japanese influence? I don't care a bit about that. The creator, one of the country's most talented people, criticizes his own country as well as a systemic fixation that is sometimes unappealingly heavy-handed: "I happen to be a Japanese student. I happen to be born in Japan," he says. I was born in Japan by chance, but I have never felt that I have taken advantage of that label. But it is hard not to see the influence of tradition in the subtlety of the fabrics that Yamamoto wears on his body, in the timelessness or vulgarity of his style, and in the shamefulness of his models. Imagination, stillness, and even abstraction become the web of the kimono and the wool of the fur, the fabric of Yamamoto's weave. The imbalance between the wild and the refined, between natural materials and technological products, between the land of the senses and the land of the emotions, is astonishingly calculated. This is why the world is attracted to the Far East. All of these refined values can be found, without the slightest pretension, in the work of Yamamoto himself and in his daily work as a consummate designer.

He is the longest-serving designer of men's and women's looks at the end of the century, expressing the uncertainties, anguish, contradictions, and passions of the time. The same goes for the value of maturity. It is a somewhat forgotten value of the glorious thirties, but one that will endure long into the future.

for pictures, see @archive-pdf’s scan of the book.

#yohji yamamoto #long post

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