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Stone Island Shadow Project SS2010 Lookbook
The Stone Island Shadow vector continues with the project's fourth seasonal capsule collection. Fueled by new reactions within the project's original conceptual core, fresh manifestations of fabric, style, detail, and interface emerge as the lightest, yet most comprehensive, offering thus far.
This unique trajectory begins, of course, at a unique point of origin — the inimitable constellation of research and development that is STONE ISLAND. Hidden detail and potential action lies at the heart of each and every Stone Island Shadow style.
Enfolding this in a simpler, softer way, a new focus can be brought to bear on both resolution of shape and fidelity of color. The goal is vibrancy and directness; stripping away the superfluous without sacrificing capability, and the lightness that can only be found by moving through one's environment with zero resistance.
Modular Performance Grid, PARSEQ is the organizational framework upon which the idea is built: PROOF, AUGMENT, RESIST, SKIN and EQUIP. All Shadow fabrics work together as part of the grid — breathable, moisture managing, skin-friendly and maintainable — chosen for their balance of performance technology and the aesthetic treatments for which Stone Island has been known since its inception.
Southwest face of Arrowhead Spire. Valley of the Gods, Utah.
Troya by Gordon von Steiner
Gordon von Steiner’s “Troya” is a visually striking short film set in the Troieshchyna neighborhood of Kyiv, known for its stark Soviet-era architecture. The film explores themes of urban isolation and resilience through a series of compelling and gritty vignettes. Von Steiner’s direction captures the raw and unembellished aesthetics of Troieshchyna, highlighting its dense clusters of monotonous apartment buildings and the lives of its residents. The film juxtaposes the area’s bleak physical environment with moments of unexpected beauty and humanity, creating a powerful narrative that resonates with the viewer .
Safety Jackets Zipped the Other Way
Visvim Camo G Line FBT
Vexed Generation — Joe Hunter and Adam Thorpe
Arms 1 1999-2004 Chromogenic print Thomas Struth
Kogakuin University Archery Hall
The Archery Hall, one of two sports pavilions FT Architects (Katsuya Fukushima, Hiroko Tominaga) built in 2013 at Kogakuin University, west Tokyo. Each is a column-free room of 7.2 by 10.8 m under an exposed timber roof of horizontal and vertical members, bolt-and-nut jointed. The archery hall uses small timber sections normally used for furniture. Photographs by Shigeo Ogawa.
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.
Hiroki in his Visvim Lhamo Shirt
Haleakalā Crater — Volcanic Landscape, Maui
Hiroki Nakamura — Beyond the Decade
第4回のゲストは、visvimデザイナーの中村ヒロキ。メディアやマーケットが変わる中でも妥協のないもの作りを続けることにより、ワールドワイドに独自のポジションを築いたvisvimの「10年」。中村ヒロキが探していたものとは、何だったのか。
ハニカム10周年記念特別企画 10人連続インタビュー：第4回 中村ヒロキ
photo: Chikashi Suzuki interview: Tetsuya Suzuki text: Yusuke Matsuyama
—— この10年でvisvimも大きく変化をしたと思います。
中村「どうでしょう。毎日やっていることなので、自分ではわかりません。でも、ハニカムが始まったころまで遡るといろいろなことがありすぎて、まだ10年しか経ってないのかという感覚はありますよ」
—— visvimは2005年からの5年くらい、ブランドとしていろいろなチャレンジをしていたと思うんです。それも、かなりのスピードで。
中村「今に至るまで常にそうしているつもりなので（笑）。その瞬間、瞬間を生きることが大事ですから」
—— とはいえ、10年前を思い出してください。日本のストリートブランドが世界的に注目を集め始めた時期でもあって、visvimはそれに対して積極的にアプローチしていました。
中村「16年前にブランドをスタートしたときも、半分ほどが海外のディーラーさんだったので、僕の中で国内と海外を区別することは最初からありませんでした。ちなみに、2005年というのはショップがオープンして1年くらい経った頃ですね」
—— そのショップのオープニングで清永さんに声をかけられ、そのあとヒロシさんから連絡をもらったのがハニカムの始まりです。
中村「インターネットによる情報伝達のスピードは、ハニカム以前と以降でずいぶん違いますよね。ファッションのマーケットも変わりました」
—— visvimの場合は、そうしたメディアやマーケットの変化に沿って変わったというより、自分たちのストーリーを深化させることで変化してきた気がします。
中村「どうなんですかね（笑）。でも、情報伝達のスピードが変わっていく中で、もの作りの方法も、マーケットへのアプローチも変わったはずです。ブランドがスタートした16年前は、知り合いのお店の方に紹介してもらう形でしたが、いまならインターネットに上げればどこでもすぐに見てもらえますし」
—— いまでこそいろいろなブランドがクラフトマンシップやヘリテージをコンセプトのひとつにしていますけど、visvimはそれを先取っていました。もの作りに対する密度を上げるアプローチをいち早く徹底していたと思うんですが、ちょうど2005年くらいから中村さんの中でもそうした気持ちが強くなったのではないかと。
中村「インターネットメディアが発達し、情報の伝達スピードが速くなっていくにつれ、自分たちの価値観に共感、共鳴してくれる人たちが距離や地域を超えて存在するということが顕著に表れました。範囲が広がってパイも大きくなり、好きと言ってくれる人も増えたので、いまは昔よりもこだわりを持ったもの作りがしやすくなっていますね」
『honeyee.mag（ハニマグ）vol.5』特集「人と物の関係」
—— なるほど。マーケットが広がれば共感する人の絶対数も増えてくると。
中村「地理的な障害があるおかげで日本のもの作りがよかった時期もあると思うんですが、インターネットによって、それとは逆の現象が起きて、逆におもしろいことができるようになったりもした。自分はそれをプラスに捉えています」
—— 作りたいものを作るというこだわりを持つと、必然的に自分たちがインターナショナルなブランドにならざるを得ないということですよね。
中村「いえ、引いて見てみれば、どこにいてもインターナショナルなんです」
—— あるいは、海外の人が勝手に見つけてくれれば、そのつもりはなくとも結果インターナショナルになる。視点をどこに置くかの問題であると。
中村「そうです。パースペクティブの問題なので。その中で自分がやりたいことをお客様に伝えられるかということです」
—— カスタマーとのコミュニケーションの密度の正確さ、スピードがこの10年で増している実感はありますか。
中村「正確だし、速くなりましたよね。でも、さっきも言ったように、時間差や伝言ゲームを通じておもしろいものが生まれてくるプロセスの余地はないから、逆に自分の足を動かして、そういうものを作っています。世界中を動くことでおもしろいものを見つけるといいますか」
—— 昔は時間差の中でノイズが入ってくるところがよかった。
中村「物理的な、あるいは、情報的な距離があるからこそ、そこにビジネスが生まれたりもしましたよね」
—— visvimは世界でもユニークなブランドだと思います。それは中村さんからすると、当たり前なことをしているという気持ちなのか、それとも、既存のファッションビジネスとあえて違うことをしている意識はあるのでしょうか。
中村「自分たちに集中しようとはしていますね。ほかのブランドが気にならないわけではないけど、見ると影響を受けるから、あまり情報を入れないようにして。雑誌は読まないし、テレビはないし、映画も観ない。インターネットは自分の求める情報だけを見られるから、それはありがたいですけど」
—— ただ、ファッションには流行というものがあります。いまは目立った流行が存在しづらく、過去の焼き直ししかなくなってきているとは思いますが、それでも、流行を意識することはありませんか。
中村「情報が発達してくると、逆に誰もが個としての自分に目覚めるようになるから、好みも多様化するし、そして、それはいいことだと思います。僕自身は何が流行っているかはあまり気にせず、街を歩いていて感じるくらいが、アウトプットするにはちょうどいいですね」
—— 例えば、サードウェーブコーヒー周辺の人たちから広がったようなライフスタイルもひとつのトレンドとしてあります。そういうものを見ていると、時代がようやくvisvim的な在り方に追いついてきた感じがするんです。
中村「確かにフードなどの業界にはそういう流れがあるのかもしれません。オーガニックなスーパーマーケットなどは日本でも増えていますし。そういうところに若いクリエイティブな人がいるんですかね」
—— かもしれませんが、僕の感覚だと、世界がvisvimのほうに向かっているんです。
中村「ネットによって、こだわりを持つローカルな小さなお店が世界中でものを売ったり、そういうことが簡単にできるようになりましたからね。だから、マーケットを広く取れば、周りの人に合わせてあれこれしなくても、自分たちがやることに共感してくれる人はいるんじゃないかなと」
—— 10年前は中村さんがそれを熱弁したとしても、リアリティを感じられなかった人もいると思うんです。でも、それが明らかな現実になったのではないかと。
中村「だとするとうれしいですね。ヴィジョナリーといいますか（笑）」
—— 本当にそう思います。ただ良いものを作りたかっただけではなく、ヴィジョンとコンセプトがあったからこその結果だと思います。
中村「まあ、でも、いろいろな考え方の人がいるから。僕は自分の作るものをいいと思ってくれる人がいて、それで成り立てばいいんです。これを着て、使って、幸せと感じてくれるのは僕だけではないはずなので」
—— みんなはこういうものが欲しいだろうという作り方ではなく、まず自分が欲しいものから入る。
中村「自分が幸せだと思えるもの。こういう意味を持たせても無意味だなと感じ始めたら、僕はもう作れないと思います。それがないとできません」
—— でも、それがある限りは、次の10年、20年もやっていける。
中村「もしかしたら、良いと思うものは変わるかもしれませんけどね。それがデザイナーとしての役目だと思っていますから、世の中の流れがどうあれ、自分が幸せと感じられるものを」
—— 改めて、世界がvisvim化した10年だったと思います。今後ますますvisvim化するとも思います。
中村「visvim化ですか（笑）。それはわかりませんが、自分は自分の信じることを続けていきたいと思います」
English translation
Our fourth guest is visvim designer Hiroki Nakamura. By carrying on making things without compromise even as media and markets changed, visvim built a position of its own worldwide — these are its “ten years.” What was it that Hiroki Nakamura had been looking for?
honeyee 10th anniversary special Ten interviews in a row: no. 4, Hiroki Nakamura
photo: Chikashi Suzuki interview: Tetsuya Suzuki text: Yusuke Matsuyama
—— I think visvim has changed a great deal over these ten years.
Nakamura "Has it? It's what I do every day, so I can't really tell. But when I go back to around when honeyee started, so much has happened that it doesn't feel like only ten years have passed."
—— For about five years from 2005, visvim was taking on all kinds of challenges as a brand. And at real speed.
Nakamura "I like to think I've been doing that the whole way through, right up to now (laughs). Living each moment as it comes is what matters."
—— Still, cast your mind back ten years. It was also when Japanese street brands were starting to draw attention globally, and visvim went at that head-on.
Nakamura "Even when I started the brand sixteen years ago, about half our dealers were overseas, so I never drew a line between domestic and international in my own head. Incidentally, 2005 was about a year after the shop opened."
—— It was at that shop opening that Kiyonaga spoke to you, and then Hiroshi got in touch — that's how honeyee began.
Nakamura "The speed at which information travels over the internet is very different before honeyee and after. The fashion market changed too."
—— In visvim's case, I feel the change came less from following those shifts in media and market than from deepening your own story.
Nakamura "I wonder (laughs). But as the speed of information changed, the way things get made and the way you approach the market must have changed too. When the brand started sixteen years ago, it was a matter of being introduced by someone at a shop you knew; now you put it on the internet and it's seen anywhere, straight away."
—— These days plenty of brands make craftsmanship and heritage part of their concept, but visvim got there first. You were rigorous about raising the density of the making earlier than anyone, and I suspect that feeling grew stronger in you around 2005.
Nakamura "As internet media developed and information moved faster, it became conspicuous that the people who share and resonate with our values exist beyond distance and region. The reach widened, the pie got bigger, more people said they liked it — so it's easier now than it used to be to make things with real conviction."
honeyee.mag vol. 5, feature: "The relationship between people and things"
—— I see. As the market widens, the sheer number of people who connect with it grows.
Nakamura "There was a period when geographical barriers were part of why Japanese making was good, I think. The internet produced the opposite phenomenon, and that in turn made some interesting things possible. I take it as a positive."
—— Once you insist on making what you want to make, you inevitably end up an international brand.
Nakamura "No — step back and look, and you're international wherever you are."
—— Or: if people abroad find you of their own accord, you end up international whether you meant to or not. It's a question of where you place your viewpoint.
Nakamura "Exactly. It's a matter of perspective. And within that, whether you can convey what you want to do to your customers."
—— Over these ten years, do you feel the precision and speed of communication with customers has increased?
Nakamura "It's precise, and it's faster. But as I said, there's no room left for the process where interesting things emerge out of time lags and Chinese whispers — so instead I move my own feet and make things that way. Finding what's interesting by moving around the world, if you like."
—— In the old days, the noise that crept in through the time lag was the good part.
Nakamura "It's precisely because there was physical, or informational, distance that businesses were born there."
—— I think visvim is a unique brand even globally. From where you stand, does it feel like you're simply doing the obvious — or are you conscious of deliberately doing something different from the existing fashion business?
Nakamura "I do try to stay focused on ourselves. It's not that other brands don't interest me, but if I look I get influenced, so I try not to take much in. I don't read magazines, I don't have a TV, I don't watch films. The internet I'm grateful for, because you can look at only what you're after."
—— Still, fashion has trends. Pronounced trends are hard to come by now, and I think we're down to rehashes of the past — but even so, do you never think about them?
Nakamura "As information develops, everyone conversely wakes up to themselves as individuals, so tastes diversify — and I think that's a good thing. I don't pay much attention to what's in fashion; picking it up while walking around town is about the right amount for what I put out."
—— For example, the lifestyle that spread out from the people around third-wave coffee is one such trend. Watching that, I get the feeling the times have finally caught up with visvim's way of being.
Nakamura "There may well be that current in industries like food. Organic supermarkets are increasing in Japan too. Maybe that's where the young creative people are."
—— Maybe — but my sense is that the world is heading toward visvim.
Nakamura "The internet has made it easy for small local shops with real conviction to sell all over the world. So if you take the market broadly, then even without adjusting yourself to the people around you, there'll be someone who connects with what you do."
—— Ten years ago, even if you'd argued that passionately, some people wouldn't have found it real. But it's become plainly real now, hasn't it.
Nakamura "I'd be glad if so. A visionary, is that it (laughs)."
—— I genuinely think so. It isn't that you just wanted to make good things — it's the result of having had a vision and a concept.
Nakamura "Well, but people think in all sorts of ways. For me it's enough that there are people who think what I make is good, and that it holds together on that. I can't be the only one who feels happy wearing it and using it."
—— Rather than making from a guess at what everyone will want, you start from what you want yourself.
Nakamura "Something I can feel happy about. The day I start to feel there's no point giving it this kind of meaning, I don't think I'll be able to make anything any more. Without that I can't do it."
—— But as long as you have that, you can keep going another ten, twenty years.
Nakamura "What I think is good might change, mind. That's what I take the designer's role to be — so whatever the world is doing, something I can feel happy about."
—— Again: I think it's been ten years in which the world became visvim-ified. And I think it will go on getting more so.
Nakamura "Visvim-ified (laughs). I don't know about that, but I want to keep doing what I believe in."
visvim gornegrat folk chelsea boot
visvim 2015 Fall/Winter GRIZZLY BOOTS-FOLK
F-22A Raptor
September 20, 2008 - Maj. Paul "Max" Moga, the first F-22A Raptor Demonstration Team pilot, roars his aircraft into a high g-force turn above Naval Air Station Oceana during the 50th Anniversary celebrations of the NAS Oceana Air Show in Virginia Beach, VA.
Visvim x Comme Des Garcons FBT
aw2012 Visvim Pawnee Corduroy Jacket
Picturing Earth: Astronaut Photography In Focus
NASA astronaut Chris Cassidy uses a 400mm lens on a digital still camera to photograph a target of opportunity on Earth, 250 miles below, on June 3, 2013. The many-windowed Cupola is the best place on the International Space Station for taking pictures. Cassidy has been aboard the orbital outpost since late March and is due to return to Earth in September.
Givenchy Obsedia Backpack in Brown Beaver Fur
Manchester Cathedral Wooden ceiling
A Kikuyu tribesman dresses up for a festival in Kenya
Martian Sunset
On May 19, 2005, NASA's Mars Exploration Rover Spirit captured this stunning view as the Sun sank below the rim of Gusev crater on Mars. This Panoramic Camera mosaic was taken around 6:07 in the evening of the rover's 489th Martian day, or sol.
Sunset and twilight images are occasionally acquired by the science team to determine how high into the atmosphere the Martian dust extends, and to look for dust or ice clouds. Other images have shown that the twilight glow remains visible, but increasingly fainter, for up to two hours before sunrise or after sunset. The long Martian twilight (compared to Earth's) is caused by sunlight scattered around to the night side of the planet by abundant high altitude dust. Similar long twilights or extra-colorful sunrises and sunsets sometimes occur on Earth when tiny dust grains that are erupted from powerful volcanoes scatter light high in the atmosphere.
Nikon x Porter Gore-Tex Camera Bag
visvim FBT Lhamo-Folk
Arc’teryx Veilance Spec Pant
The Spec Pant ensures the wearer is invisibly armed for everyday wear despite their apparent tailored simplicity. This design is extremely adaptable, with a side pocket array that's easily accessible but visually concealed, while a cotton/poly twill WINDSTOPPER® fabric with a cotton/poly tricot backer offers superior protection.
Made in Canada.
House in Yatsugatake by Kidosaki Architects Studio
This private residence was designed by Kidosaki Architects Studio. It is located on the edge of the Yatsugatake Mountains in Nagano, Japan.
SOPHNET x visvim AMERICANA DECK VD
White Mountaineering ss2012 Footwear Collection
Nike x Undercover Gyakusou FW2013
Photographed by Azim Haidaryan
Produced by Panottica
VISVIM aw2012 BALLISTIC 20L BACKPACK
visvim PFD JKT 3L GORE-TEX
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.
Visvim Sanjuro Kimono
Nike x Undercover Gyakusou FW2011 Beanie
Rainbow mountains at Zhangye Danxia national geopark Gansu China
the grove pavillion
the grove pavilion is located at the center of the arced walkway where it briefly touches upon land, between the constantly texture of the water and matured trees. barbeques and public space provide recreational services to visitors within a subdued black structure that frames the colorful surrounding landscape. continuing eastward down the walkway leads to the wilkinson’s point pavilion born from an existing concrete pad built in the mid 20th century as the foundation for an unrealized bridge. the pavilion, a series of intersecting planes exhibiting various degrees of transparency and filtering of views and colors, cantilevers out over the water framing the site and a large open-air pad capable of hosting large scale events. massive concrete walls support a floating canopy containing an expansive red glass wall and a yellow skylight towards the cantilevered portion. the architecture adopts a simple form, poetic and restrained in the landscape, an experience heightened by its relative isolation from any other man-made developments.
Former CGER-ASLK Building, Brussels — Marcel Lambrichs
Fisarmonica with colour variants of Ice Jacket camouflage 1989
"Wendover II (For John)" by Barry Underwood
Lazy Oaf AW13 Lookbook
Nickel Tailings 34, Edward Burtynsky, 1996
From “Manufactured Landscapes: The Photographs of Edward Burtynsky”
Aleppo, Syria. 2013. Photograph by Moises Saman
Bamin Modular Duffle Bag
Designed by Robert Cordero
Smokescreen during a demonstration in Athens
Nike ACG Zoom Meriwether — Ivory/Orange
NIKE ZOOM MERIWETHER
The Nike ACG Zoom Meriwether is a lightweight, weather-resistant boot built on a responsive Zoom Air platform, it offers impact protection without the bulk of traditional hiking boots. The water-resistant suede upper is paired with a medial zip for easy on-off, while the integrated lacing system keeps the fit secure without adding unnecessary weight or complexity.
GENERAL RESEARCH OFF-SITE
Designed by architect Shin Ohori of General Design for Setsumasa and Mami Kobayashi, founders of General Research. Located in the Chichibu mountain range northwest of Tokyo, the site serves as both a personal weekend shelter and a field-testing ground for product development.
The structure is built on an elevated platform using locally harvested larch wood and features removable walls made from fiber-reinforced plastic. It includes two yellow dome tents used as permanent sleeping areas—one placed on a secondary deck and the other on the roof of the main volume. The central enclosed space houses a kitchen and dining area.
The shelter is equipped with electricity, hot water, internet access, and basic amenities, including a clawfoot bathtub. The location is remote but accessible, allowing the Kobayashis to engage in maintenance tasks and outdoor work while still performing professional duties remotely. The architecture is intentionally simple and functional, emphasizing modularity, environmental responsiveness, and a hybrid of modernist design with primitive outdoor living elements.
The project operates as a live-in testing platform for lifestyle and gear integration in a real-world setting, merging domestic space with performance wear prototyping. It represents an approach to architecture and living that prioritizes adaptability, utility, and a direct relationship with the natural environment.
Desert Mountains Aerial View 012
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.
PRO-Keds KAZzROCK Combat
From their street military shoes series
Visvim F.I.L. Sendai Store
Visvim 2012 Subsection Series
The SUBSECTION SERIES is a fragrance collection by Visvim, inspired by founder Hiroki Nakamura’s encounter with French fragrance designer Blaise Mautin over 20 years ago. The series includes candles, room sprays, and diffusers, each available in various scents. Notable fragrances are NO.1 F.I.L., a blend featuring patchouli and sandalwood, and NO.7 KYOTO, inspired by a morning visit to Kyoto’s Sanjusangendo temple.
SENSE March 2012 the TEXT in VISVIM 2012 Spring Summer
“Dissertation on Self-Verification: 2001-2011″
visvim 10th Anniversary Book "Dissertation on Self-Verification 2001-2011"
The book is hand bound and uses a washi paper made by a craftsman who sources the raw materials from Japanese trees.
Limited to 300 copies.
visvim Subsection Reed Fragrance Diffuser
Mastermind Japan x Porter Spring/Summer 2012 Messenger Bag
Stüssy Deluxe x BLK Pine Workshop Spring/Summer 2012 Canvas Tote Bags
Mastermind Japan x Visvim Gila Moc Mid-Top Sneaker
Hanna Putz — Friends of Friends Portrait by Thomas Lohr
Supreme x Visvim Camp Cap FW2008
Alex Honnold climbing on Separate Reality, a difficult over hanging roof crack in Yosemite National Park, California
Visvim Maliseet Folk — Brown and Navy
visvim × The Black Sense Market AW12
Visvim Serra Pizi Boots — Natural Grey Suede
Nike x Undercover Gyakusou FW2012 Cedar Camouflage
White Mountaineering Fall/Winter 2012 "Award Tour" Lookbook
Loro Piana Womenswear Editorial — Dark Khaki Sheer Shirt and Turban
visvim Fall/Winter 2012 Grizzly Boots Mid-Folk F.I.L. Exclusive
Nike x Undercover Gyakusou FW2012 — Autumn Monks
White Mountaineering Cotton Cloth Luggage Down Vest
Peninsula House by Watson Architecture + Design
Beach house on Victoria’s coastline organized as two distinct volumes: a private pavilion for sleeping and bathing, and a communal pavilion for cooking, dining, and living. The separation creates a clear distinction between individual and shared activities while maintaining a single architectural identity through a continuous roof structure. Large column-free interiors open directly onto north and west-facing decks, reducing the boundary between interior and exterior space. The structure was prefabricated off-site to minimize construction time, while recycled materials—including reclaimed stadium timber and salvaged jarrah columns—were used throughout. The project reconsiders the Australian beach house typology through a simple, efficient arrangement of space, structure, and material.
