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Dazed & Confused Magazine _ Issue 035 _ October 1997
Dazed & Confused issue 35, October 1997, is a special music issue built around a portfolio of British bands, with Goldie, Howie B, Leftfield’s Neil Barnes and Dego of 4 Hero on the cover. Features cover pop promo directors, roadies, and an artist’s project by Peter Saville. The Levi’s Vintage Clothing campaign runs through the front of the book, photographing worn denim and workwear against weathered wood, 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.
Dazed & Confused 017 _ Trainspotting Issue
Dazed & Confused 009
NIKE 2001 SPRING WOMEN'S FOOTWEAR CATALOG
Full catalog download link below or through the server.
Southwest face of Arrowhead Spire. Valley of the Gods, Utah.
1998 Nike Late Spring Footwear Catalog
The 1998 Nike Late Spring Footwear Catalog is a 260-page reference detailing Nike’s seasonal footwear lineup. It features technical and visual documentation of performance and lifestyle models, including the Air Max 98, Air Minot, Terra Humara, Air Rift, and Air Terra Sertig. The catalog provides material data, color listings, and product codes for retail and distribution use.
Full catalog download link below and through the server page.
All nike catalogs.
NIKE 1999 LATE SPRING WOMEN'S FOOTWEAR CATALOG
Full catalog download link available below and through the server page alongside an index of all available docs.
1987 NIKE FALL FOOTWEAR CATALOG
Full catalog download link below and through the server page.
1998 NIKE MEN'S FALL FOOTWEAR CATALOG
Full catalog download link below and through the server page.
2001 NIKE LATE SPRING WOMEN'S FOOTWEAR CATALOG
Full catalog download link below and through the server page.
2004 Nike Women's Spring Footwear Catalog
The 2004 Nike Women’s Spring Footwear Collection documents a transitional period in Nike design, where performance running, training, and lifestyle silhouettes were increasingly developed with women-specific tooling, proportions, and material strategies. The catalog presents a cross-section of early-2000s innovation, including lightweight mesh constructions, injected and Phylon-based midsoles, visible Air cushioning, and emerging considerations around fit, stability, and flexibility tailored to female athletes. Alongside technical models, the collection also reflects Nike’s growing emphasis on color, graphic treatments, and coordinated seasonal palettes, positioning footwear not only as athletic equipment but as part of a broader design system aligned with apparel and sport culture at the time.
Catalog download link below and through the server page.
2001 NIKE LATE SPRING MEN'S FOOTWEAR CATALOG
Full catalog scan download link available below and through the server page.
Nike 2003 Holiday Women's Footwear Catalog
full catalog download link below and through the server page.
Nike 2003 Holiday Mens Footwear Catalog
Full catalog download link available below and through the server page alongside an index of all available docs.
NIKE 2002 TIMING FALL / HOLIDAY CATALOG
NIKE 1998 Summer Apparel Catalog
Full catalog download link below and through the server page.
NIKE 1996 FALL FOOTWEAR CATALOG
Download below and through the server page.
Pokras Lampas x Comme des Garçons BLACK AW2019 Campaign Poster Scans
New Nomads: An Exploration of Wearable Electronics by Philips
FINAL HOME Spring Summer 2000 Collection
Visvim Camo G Line FBT
POC Spine Ergo BUG Back Protector
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
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
Visvim x Comme Des Garcons FBT
aw2012 Visvim Pawnee Corduroy Jacket
visvim FBT Lhamo-Folk
SOPHNET x visvim AMERICANA DECK VD
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
Rainbow mountains at Zhangye Danxia national geopark Gansu China
Bamin Modular Duffle Bag
Designed by Robert Cordero
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.
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 Visvim Gila Moc Mid-Top Sneaker
Supreme x Visvim Camp Cap FW2008
Visvim Maliseet Folk — Brown and Navy
visvim × The Black Sense Market AW12
Visvim Serra Pizi Boots — Natural Grey Suede
Visvim BALLISTIC 20L Backpack Spring/Summer 2012
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
Visvim Lamina Backpack — Spring/Summer 2011
Visvim Skagway Hi Sneaker
Visvim LAMINA 22L Backpack Spring/Summer 2012
Visvim FBT Lhamo-Folk Dark Brown
Visvim Serra Boot AW2011 — Tanned Leather and Denim
Moncler V × Visvim Gyantse Down Vest FW2011
Visvim Serra Boot Denim Tanned
Hiroki Nakamura, Founder of Visvim
Visvim Tabi Sashiko-Folk
visvim FBT — Suede Moccasin
visvim F.I.L. Sendai Store Interior
Visvim FBT Moccasin Sneaker — Brown Veggie Suede
Visvim Ballistic 23L Backpack
Visvim Pullover Hoodie
A pullover hoodie from visvim (Hiroki Nakamura), identified by the neck tag. Heavyweight loopback cotton with natural dyes and hand-finished detailing. Sold through visvim's FIL network.
Visvim Ballistic Lumbar 6L Waist Bag
A roughly six-litre waist bag from visvim (Hiroki Nakamura), in ballistic nylon, worn low on the hips. Sold through visvim's FIL / visvim.tv channels.
Visvim Foley Folk
Continuing on with their focus on the FOLK collection of products, visvim present their 2010 spring/summer collection FOLEY FOLK. Basic in its design, the FOLEY is marked by a hand-sewn suede upper with a light-colored outsole. Natural breathable qualities are also integrated into the overall design. Colors include black, dark brown, sand, burgundy and navy.
visvim x SOPHNET FBT
The visvim x SOPHNET. FBT (Autumn/Winter 2011), a collaboration on visvim's FBT moccasin-construction slip-on. Announced on SOPH.'s blog for a December 2011 release.
Visvim Cordura 20L Backpack
visvim LAUDA KIOWA-FOLK
Visvim Bighorn L/S Giza Shirt
Visvim Social Sculpture Denim Western Shirt
Visvim Moc-Folk 'Gris' — Spring/Summer 2011
visvim LAMINA Rucksack 22L KUDU
Hiroki Nakamura at Vintage Textile Archive
Visvim PFD GORE-TEX Jacket in Check
Visvim × Number (N)ine Gore-Tex Nomad Jacket (08SS)
Stone Island Shadow Project Bomber Jacket 2009
Stone Island Shadow 09
Visvim Sunnegga Hi Lamina Boot
honeyee. mag vol.9 — "Reality" featuring Hiroki Nakamura
Visvim Striped Muffler — Multi-Colorway Preview
Visvim Cordura 22L Backpack
