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Dazed & Confused Magazine _ Issue 017 _ June 1995
Dazed & Confused Magazine _ Issue 009 _ March 1994
EMERY MOUNTAINS
April 2024, FRIEZE No. 9 Cork Street Gallery, London
EXHIBITION: The Mountains Between Us, FRIEZE No 9 Cork St
Weaving together photography, video and sculptural objects, lena_c_emery highlights the accelerated loss of mountain glaciers and the desperate conservation efforts currently employed to impede their decline. Under the continued influence of greenhouse-gas forced global warming, ice that took centuries to develop is vanishing in just a number of years. A fate experts predict for at least two-thirds of all glaciers by the end of this century. EMERY: In ‘The Mountains Between Us’, I capture the current environmental efforts undertaken to reduce the rate at which glaciers melt. Glaciers have held space for centuries, silently bearing witness to history. They’ve seen the world change in ways we can barely comprehend. Because my grandfather spent his life in these mountains, watching this particular glacier retreat and form lakes where there was previously only ice and at a pace that’s steadily increasing, feels deeply personal. The idea of covering these mammoths in fabric to stall the inevitable, feels both tragic and emblematic of our relationship with nature: The magnitude of loss countered by gestures that, though earnest, feel powerless. Visually these wrapped peaks evoke images of muddied tents, makeshift shelters that we’ve come to erect for those displaced by upheaval. This fragility, their fragility, our fragility, is a direct reflection of the imbalance we have sown, where those least responsible for ecological destruction are forced to bear its heaviest burdens. The title became a way to frame those divides. Mountains have always symbolised barriers, but perhaps they could also be reimagined as thread, shared histories and a collective belonging. The elemental particles composing our very being once danced amidst these ancient landscapes and if they disappear, part of us does too.
GR10K Fall 2024 "Incognito"
GR10K "Incognito" Fall 2024 Ad Campaign
JORDAN TWO3 Spring Summer 2002 CATALOG
Marithe Francois Girbaud Inside Collection Campaigns by Air Paris Agency
"Avakareta Life" Editorial Styled by Jun Takahashi
and wander x Muraco Designs Heron Tent Shelter Sets
This tent boasts a straightforward structure, allowing for quick and effortless setup. To assemble, lay the flysheet on the ground and firmly secure the four corners with pegs. Then, raise the center pole at the top. The remarkable simplicity of this setup is unmatched by self-supporting dome-shaped tents, and its generous overhead clearance adds to its allure.
HERON 2POLE TENT SHELTER SET
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Stone Island Navigation Series [shedding light] by Liam Macrae
Stone Island Navigation Series: Shedding Light by Liam MacRae deploys a canine unit as both subject and sensor. The sequence examines tracking protocols, movement signatures, and light scatter in terrain navigation. Objective: assess animal-assisted pursuit as a guidance vector. Visual narrative captures the moment of release—unleashing the chase to test instinctive tracking against controlled illumination parameters.
Form #7, Josef Schulz, 2003
Josef Schulz is a photographer known for capturing images of modern warehouses and factories, which are typically considered mundane industrial structures with little architectural significance. These buildings, produced worldwide, follow standardized plans and materials, lacking distinct external features to reveal their specific purposes.
Schulz's approach involves studying the essence of his craft through these photographs. He employs digital image processing to remove any elements hinting at the buildings' age, location, or surroundings, transforming them into virtual blueprints. By emphasizing colors, shapes, and symmetries, he turns the buildings into block-like structures, resembling toy architecture and presenting them as idealized versions of themselves.
In this process, Schulz blurs the line between photographic and painted reality to optimize the images. Simultaneously, he reduces the physical buildings to their design concepts and the photographic reality to its virtual representation. His intent is to diverge from the typical pursuit of making digital images appear as real as possible. This approach might leave the viewer perplexed, as they struggle to distinguish between authentic elements captured by the camera and those created through digital tools.
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Man of Moods ss2016 Collection
Utilitarian-inspired Japanese fashion brand Man of Moods presents a selection of shots exhibiting a 2016 spring/summer collection titled “Mountain of Moods.” Featuring the brand’s usual blend of sleek lines and practical engineering, “Mountain of Moods” will be unveiled at House Gallery Space in Tokyo on September 15. With photography from Teppei Hoshida and styling by Tomoyuki Sasaki.
ESA HERTZ Anechoic Chamber — Antenna Test Facility at ESTEC
Redhill MRT Station — Singapore
Nakagin Capsule Tower — Exterior Detail, Tokyo 2016
Nanzenji Temple Autumn Foliage, Higashiyama, Kyoto
CP Company Multi-Pocket Goggle Hooded Jacket in Grey
Robert Häusser J.R. 5-9-70
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Nendoroid Solid Snake
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Anti-Skateboarding Deterrents — Granite Architecture Detail
Mount Sinabung Eruption
Nike Lunar Pegasus 89
Toni Garrn by Philip Gay, Just Do It, Interview Germany 2012
Urbastyle Bench Paris 1 — La Défense
Arc’teryx Veilance ss2013 lookbook
NEIGHBORHOOD 2013 Autumn/Winter Lookbook by SENSE Magazine
Floral Botanical Print Textile — Kimono or Wrap Garment
Distressed Layers and Leather Gloves — Jeff P. Elstone
Jeff P. Elstone's black-and-white fashion detail concentrates on layered distressed textiles, dark trousers and deconstructed fingerless leather gloves.
Irving Penn × Issey Miyake — Two Miyake Warriors
Visvim Sanjuro Kimono
Former CGER-ASLK Building, Brussels — Marcel Lambrichs
"Wendover II (For John)" by Barry Underwood
Angela Lindvall photographed by Mert & Marcus, 2002
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Nickel Tailings 34, Edward Burtynsky, 1996
From “Manufactured Landscapes: The Photographs of Edward Burtynsky”
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SENSE Magazine visvim Spring Summer 2012
A page from 'TEXT in visvim', the visvim Spring/Summer 2012 feature in Japan's SENSE Magazine (March 2012). Naturally dyed, hand-constructed pieces from Hiroki Nakamura.
SENSE March 2012 the TEXT in VISVIM 2012 Spring Summer
Peninsula House by Watson Architecture + Design
Grey Peacock-Pheasant Plumage — Iridescent Ocelli Detail
Akari Hayami — Japanese Fashion Magazine Editorial
Dassault nEUROn — European Stealth UCAV Demonstrator
Xavier Veilhan Faceted Figure Sculpture
Yung Lean & Bladee Victorious music video by Aidan Zamiri
Forty Percents Against Rights
FORTY PERCENTS AGAINST RIGHTS (FPAR), a Japanese label by Tetsu Nishiyama, who also runs WTAPS and ran the 1990s FPAR. Message-based graphics with military- and workwear-derived cuts; it opened its own online store in 2013.
Precast Concrete Slab — Texture Study
Bas Princen — Colonnade Infrastructure Photograph
Mineral Ridges — Matthias Heiderich
Matthias Heiderich's landscape study contrasts pale eroded mineral formations with steep charcoal-grey ridges. The photograph was taken on April 29, 2012.
Cave Diving — Diver in Cenote Light Rays
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ingu's View from the Office looks across Hong Kong's Causeway Bay skyline toward Central Plaza. The Flickr description dates the scene to August 2011.
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A work from Kevin Townsend's Temporary Drawings: large chalk drawings built up on walls and floors as fields of repeated marks, then erased.
Raf Simons Menswear Lookbook — Photography by David Armstrong
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Jin Mao Tower, Shanghai, Above the Clouds
Adidas Performance Tank Top and Leggings — Black Activewear Editorial
Black and White Mountain Snowscape — Fine Art Alpine Photography
Boris Tellegen Surface
An installation view from 'Surface', a 2012 Paris exhibition by the Dutch artist Boris Tellegen (Delta). He makes fractured three-dimensional reliefs and sculptures from an exploded-letterform language rooted in graffiti.
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Ivan Vitić — Pavilion 40, Zagreb Fair, 1957
Joséphine Le Tutour in Alexander Wang — Numéro Tokyo July/August 2013
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Yohji Yamamoto Editorial — Sculptural Wrap and Pleated Drape
Hagia Sophia, Istanbul
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grey93 for 017 Shop
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Cottweiler aw2013
Credits:
Photography: Aline &Jacqueline Tappia Reynaud
Stylist: Lorenzo Posocco
Models: Charlie & Robin
Hair: Sophie Harris
Make-up: Jasmin Laura Rosso
Assistant: James Rg Neville
Julian Wasser — Arrest on Hollywood Boulevard (1970)
High-Rise Building — Urban Architecture
Unseen Luna by Ash Kingston
Lockheed Martin F-35 Lightning II
The Center Hong Kong
Ruth Bernhard — Eighth Street Movie Theater, New York (Frederick Kiesler, Architect), 1946
Mount Etna — Volcanic Landscape Sicily
Star Magnolia — Magnolia stellata Macro
Hanne Gaby Odiele Street Style — Bandana Portrait
BMW 3 Series E90 on a Vine-Covered Hong Kong Rooftop Car Park
Tao Okamoto by Josh Olins for Vogue China August 2013
SOPH. Hong Kong Store
Outlier Soft Core Wool Vest
Aether Apparel Fall/Winter 2012 Technical Outerwear Lookbook
Jun Takahashi — Undercover Designer Portrait, Dazed June 2013
Interview with Jun Takahashi on Undercover AW13
Q: After two years away from the Paris catwalks, why was now the right time to show a runway collection?
A: After the earthquake disaster, we Japanese were spiritually in the worst state. It’s been two years since then and everyone is hoping to improve the present situation. I am one of them. I chose to have a runway show in Paris in order to restore myself. I thought it would work because going back to the runway was one of the things I had been hoping to do.
Q: Talking of the scar that Japan’s earthquake left on you, did it creatively affect your AW13 collection?
A: I was craving for creation, and that resulted in those one-off dresses. Two years ago, mentally and financially I wasn’t able to create such things. Those one-off pieces are my original works and made intuitively by myself. I am the only one who could make them. They are sacred works to me. I guess I like things where you can feel human warmth.
Q: Why did you call the show ‘Anatomicouture’? Was your intention to expose the inner bones of the garments?
A: It is a mentality of exposing the inner self, corresponding to my desire to reveal my creation and what’s going on in my head.
Q: Despite the skeleton and organ motifs, the collection is beautiful and seductive – does this come back to your interest in the contrast between ugly and beautiful?
A: Ugliness and beauty co-exist in human mentality. I always want to express those emotions.
Q: The AW13 show had the feel of punk performance art – why did you stage it like theatre?
A: Because the theme of this collection is related to human emotions, I thought my theme could be conveyed much better with such staging effects that would move people’s hearts. That’s why I used songs by Cat Power and James Blake. All the songs are great and meaningful and helped me convey what I wanted to express through the lyrics of songs too.
Q: When did your love of fashion start, and how did that lead to Undercover?
A: When I was little I loved drawing and had a twisted personality. I was so into punk during my high school years. My interest in fashion arose when I was around 15 years old and I was hoping to become a designer. At 18, I entered Bunka Fashion College. I was questioning about learning ‘design’ from teachers who were much older than me. So I told myself that I would learn only techniques in the school, nothing else.
Q: Undercover was considered part of a new wave of Japanese designers. How did your approach differ from the likes of Rei Kawakubo and Yohji Yamamoto?
A: I am not sure if Undercover is part of a new wave and I don’t really care. But Rei influenced me a lot on things like breaking stereotypes.
Q: You and your friend Hiroshi Fujiwara collected vintage Seditionaries pieces and published a book about them, and you even appeared in a show of Vivienne Westwood’s designs in Tokyo in 1990. Can you describe the impact punk made on you and explain why it still resonates today?
A: To me, punk means a spirit that questions and abolishes conventional ideas. That is my fundamental principle. You can apply the principle to fashion design. It depends on each season, but I instil punk interpretation into my designs in many ways – for example, by fusing two contradicting elements or applying techniques that are generally considered taboo.
Q: You recently designed lines for Uniqlo and Nike – how did you enjoy those two experiences? Did they feed back into your work with Undercover?
A: The Uniqlo and Nike collaborations are totally different types of designs from that of Undercover. Therefore the collaborations didn’t really affect my work with Undercover. But for my career as a designer, both collaborations became good experiences. Working with Uniqlo gave me the opportunity to learn about the creation of mass products and newly standard items that are totally different from designing avant-garde pieces. As for the collaboration with Nike, I am very satisfied both as a designer and as a runner with the fact that I have been able to create products which integrate necessary functions for running with fashion-design aesthetics, which had often perhaps been missing in the existing sportswear.
Q: You’ve talked in the past of the difficulties with keeping up with the six-month cycle of fashion shows, and skipped showing in Paris for a couple of seasons – how are you currently finding working within the fashion calendar?
A: Right now, I’ve come to the conclusion that the six-month cycle is appropriate. Themes of each Undercover collection vary by season. If we could spend more than six months on a collection, and if we continue to work with the same theme for a year, it would be difficult to keep up the tension towards the theme and I am afraid that the freshness would be lost.
Q: AW13 got a great response. Will we be seeing you back on the runway next season?
A: I could strongly feel that a lot of people were waiting for Undercover and I was very thankful about it. I will be back on the runway next season.
Q: Next year will mark the 20th since you began showing as Undercover. How do you feel you’ve evolved in that time?
A: I went through many phases and experienced many things. There was a time we faced various troubles, or we jumped into things just by force of circumstances. But nothing was wasted. I am responsible for all success and failure of Undercover. I will go forward without being ashamed of the paths I’ve chosen.