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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
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GR10K Fall 2024 "Incognito"
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Lightning Archives Military Jackets (revised edition)
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
JORDAN TWO3 Spring Summer 2002 CATALOG
Marithe Francois Girbaud Inside Collection Campaigns by Air Paris Agency
Visvim Camo G Line FBT
"Avakareta Life" Editorial Styled by Jun Takahashi
![Stone Island Navigation Series [shedding light] by Liam Macrae](https://storage.ghost.io/c/14/ee/14eef3be-ca5a-434b-8324-fa1f874026f1/content/images/size/w300/2023/09/F5WkecNXQAA78GB.jpeg)
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
GTA 5 ARC'TERYX SYSTEM_A MOD
Credits: zamalone
Boston Dynamics SpotMini Quadruped Robot
YR6375 Smackit Jacket in The Face May 1999
MIlla Jovovich by Juergen Teller
MIlla Jovovich by Juergen Teller for Strenesse fw97
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
UNDERCOVER ss2011 "UNDERMAN" Collection
Maison Martin Margiela lookbook photographed by Mark Borthwick, 1999
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
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.
visvim 2015 Fall/Winter GRIZZLY BOOTS-FOLK
Visvim x Comme Des Garcons FBT
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Arc’teryx Veilance ss2013 lookbook
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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.
Visvim Sanjuro Kimono
Angela Lindvall photographed by Mert & Marcus, 2002
Angela Lindvall POP (F/W 2002) ph. Mert & Marcus
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.
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
TMS.SITE UV RESIST TESTED TO WORK LONG TEE
Akari Hayami — Japanese Fashion Magazine Editorial
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.
“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.
Nike Heritage Shoulder Bag Editorial
Raf Simons Menswear Lookbook — Photography by David Armstrong
visvim Subsection Reed Fragrance Diffuser
Adidas Performance Tank Top and Leggings — Black Activewear Editorial
Joséphine Le Tutour in Alexander Wang — Numéro Tokyo July/August 2013
Yohji Yamamoto Editorial — Sculptural Wrap and Pleated Drape
Faye Valentine
Faye Valentine, a bounty hunter in Cowboy Bebop, Shinichiro Watanabe's 1998 Sunrise series. She is one of the crew of the ship Bebop.
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
Unseen Luna by Ash Kingston
Tao Okamoto by Josh Olins for Vogue China August 2013
Mastermind Japan x Visvim Gila Moc Mid-Top Sneaker
Jun Takahashi — Undercover Designer Portrait, Dazed June 2013
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
woodland camo car
BMW 5 Series E34 generation
Visvim Serra Pizi Boots — Natural Grey Suede
Nike Free Woven Khaki Stadium Green Hyper Blue Pink
Nike Free Woven in Khaki, Stadium Green, Hyper Blue, and Pink, with a multicolor woven upper and white Free sole. Style code 555307-236.
