SENSE March 2012 the TEXT in VISVIM 2012 Spring Summer
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Dazed & Confused issue 35, October 1997. A special music issue built on a portfolio of British bands, with Goldie, Howie B, Leftfield's Neil Barnes and Dego of 4 Hero on the cover. Inside: 03 Minute Heroes on pop promo directors, Fashion For The Long Haul with roadies, Belfast Exposed, Class of '97, Ersatz, Kodak Exposed, and an artist's project by Peter Saville. The Levi’s Vintage Clothing campaign runs through the front of the book, each garment captioned with the trade and decade it was originally issued to. Download the full issue PDF, or find it with the rest of the archive on the server page.
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Lightning Archives Military Jackets (revised edition) is a reference volume that assembles hundreds of vintage military jackets—from field coats to flight and bomber styles—into a 242-page photographic index, printed in Japan. Each garment is reduced to front, back, and detail shots, annotated with brief data about model, era, and origin, turning decades of conflict and logistics into orderly rows of fabric, hardware, and serial numbers. The revised edition simply expands and updates this taxonomy, confirming that uniforms designed for war now circulate as images and commodities, stripped of purpose, filed away as another closed chapter in a series of collectible books.
Download link available below or through the server page.
Lightning Archives Vol.150 NIKE CHRONICLE DELUXE 1971 to 1980s
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"Avakareta Life" Editorial Styled by Jun Takahashi
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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.
Hiroshi Fujiwara AFFA feature in i-D Magazine March 1994
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Visvim Sanjuro Kimono Down Jacket
Naturally dyed Italian nylon with a white goose down fill, ribbed collar, 2 slanted snap button pockets, Talon zippered utility pocket on one sleeve, patch detailing on the placket and hand–stitched sashiko.
C.P Company full zip hoodie ad scanned from Dutch magazine 2000
Hiroki in his Visvim Lhamo Shirt
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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.
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aw2012 Visvim Pawnee Corduroy Jacket
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The red GORE-TEX shell takes inspiration from a classic M-65 military jacket and also features a drawstring over sized collar with a packable hood for added detail and function. Look for this jacket to be available through select visvim retailers this week as well as through F.I.L. locations in Asia.
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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.
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Credits:
Photography: Aline &Jacqueline Tappia Reynaud
Stylist: Lorenzo Posocco
Models: Charlie & Robin
Hair: Sophie Harris
Make-up: Jasmin Laura Rosso
Assistant: James Rg Neville
Unseen Luna by Ash Kingston
Tao Okamoto by Josh Olins for Vogue China August 2013
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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.
Chiaki Kuriyama — Kill Bill Volume 1 Japanese Magazine Feature
Hanna Putz — Friends of Friends Portrait by Thomas Lohr
Supreme x Visvim Camp Cap FW2008
Dark Suit — N.Hoolywood or Gareth Pugh Fashion Editorial
Undercoverism Fall/Winter 2012 Honeyee Editorial
Visvim Maliseet Folk — Brown and Navy
visvim × The Black Sense Market AW12
Michelle Buswell by Koray Birand, Harper's Bazaar Turkey 2012
Nike x Undercover Gyakusou SS2012 Fabric Mixed Long Pants
Visvim Serra Pizi Boots — Natural Grey Suede
Loro Piana Womenswear Editorial — Dark Khaki Sheer Shirt and Turban
visvim Fall/Winter 2012 Grizzly Boots Mid-Folk F.I.L. Exclusive
visvim Spring/Summer 2012 Ballistic Lumber Veggie 8L Waist Pack
Engineered Garments Fall Winter 2011, HUgE Magazine
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SENSE Magazine "TEXT in visvim" ss2012 Collection Editorial
SENSE magazine’s seasonal “TEXT in visvim” editorial brings to our attention many of the upcoming pieces from the designer’s 2012 spring/summer “Dissertation on Introspection” collection. The popular natural indigo and Amami-Oshima mud techniques are amongst the unique dyeing methods used this season. Material-wise, Egyptian Giza and LUXSIC cotton have been chosen as the base for the corduroy and denim items, with KONBU, Belgium cowhide leather and Cordura Ballistic nylon used to create this season’s range of bags. Combine all of this with a strong range of earthy colors and classic visvim styling, this “TEXT in visvim” editorial helps show off the solidity of the 2012 spring/summer “Dissertation on Introspection” collection nicely.
Goro's visvim FBT by Hiroshi Fujiwara
Men's Street Editorial Portrait — Monochrome
