white moutaineering
Related_
UNDERCOVERISM — The Men Who Wear Undercoverism
UNDERCOVERISM 2012–13 Fall/Winter portrait feature The Men Who Wear Undercoverism, photographed by Taro Mizutani with text by Issey Enomoto.
COMME des GARÇONS HOMME Packer Feature by eye_C
Fleece-Lined Hiking Pants — Technical Outdoor Apparel
Sonoya Mizuno as Dr. Azumi Fujita — Netflix MANIAC (2018)
Tokyo Rooftops Ginza
Margaret Howell Autumn/Winter 2016 Campaign
Gustav Frich photographed by Alasdair McLellan and styled by Beat Bolliger for Margaret Howell Autumn/Winter 2016.
MIG 1.42 - PROTOTYPE
Prototype Russian fighter jet spotted on Bing Maps. Built to rival the American F-22 Raptor, the jet lost out to the Su-47.
Raf Simons — Men's Raglan-Sleeve Archive Coat
Nakagin Capsule Tower — Exterior Detail, Tokyo 2016
CP Company Multi-Pocket Goggle Hooded Jacket in Grey
Obscur Black Leather Fingerless Glove Gauntlet
Nendoroid Solid Snake
Nendoroid Solid Snake (#447) by Good Smile Company, a super-deformed figure of the Metal Gear Solid character. Comes with the cardboard box, swappable faces and poses.
Anti-Skateboarding Deterrents — Granite Architecture Detail
Mount Sinabung Eruption
White Mountaineering x Porter ss2014 Collection
The range draws on Porter’s expertise and sees the first three pieces in either black or khaki with 2800 Denier Nylon construction as the remaining pieces come in black, navy, or camel with premium leather and an embossed marquetry motif.
Nike Lunar Pegasus 89
Toni Garrn by Philip Gay, Just Do It, Interview Germany 2012
White Mountaineering ss2012 Footwear Collection
Urbastyle Bench Paris 1 — La Défense
UNDERCOVER Fall/Winter 2013 Leather-Sleeve Army Jacket
White Mountaineering Camouflage Jacket
White Mountaineering aw2012 Wool Blend Pant
White Mountaineering fw2012 hunting Jacket
White Mountaineering aw2012 3/4 Pant
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.
Visvim Sanjuro Kimono
Former CGER-ASLK Building, Brussels — Marcel Lambrichs
Grey Peacock-Pheasant Plumage — Iridescent Ocelli Detail
Akari Hayami — Japanese Fashion Magazine Editorial
Dassault nEUROn — European Stealth UCAV Demonstrator
Xavier Veilhan Faceted Figure Sculpture
White Mountaineering Striped Pocket T-Shirt
Bally Spring/Summer 2014 Menswear — Hooded Utility Poncho
Precast Concrete Slab — Texture Study
Undercover Diaplex Autumn/Winter 2007 Collection
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.
View from the Office — Hong Kong by ingu
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.
Kevin Townsend Temporary Drawings
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
Nonnative Wrecking Walls FW2013 Bomber Jacket
The North Face Purple Label Down Cardigan
The North Face Purple Label Boa Fleece Hooded Vest
Jin Mao Tower, Shanghai, Above the Clouds
Devoa Panelled Jacket
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.
Kapital Fall/Winter 2013 "Indigenous" Lookbook
Ivan Vitić — Pavilion 40, Zagreb Fair, 1957
LONG CLOTHING Clip Pants in Black and White Tartan
Prada Fall/Winter 1999 Menswear
Prada's Fall/Winter 1999 menswear collection moves from muted tailoring and leather into technical outerwear, close-fitting performance layers, and a final return to dark suiting. This complete sequence preserves all 80 runway looks in the official order.
Nike Footscape Free White Grey
Untitled Mountain Pass — Elias and Theresa Carlson
Rethinking the Split House by Neri&Hu, Shanghai
BAK Arquitectos Concrete House Interior, Mar Azul
Stussy x Bedwin & The Heartbreakers Fall/Winter 2012 Varsity Jacket
Kamchatka Volcanic Landscape
Number (N)ine Spring/Summer 2008 “Birds” Collection
Blk White Mountaineering shooting gloves
KiBiSi XTable Cable Compartment Detail
High-Rise Building — Urban Architecture
Lockheed Martin F-35 Lightning II
Nonnative Handyman Pullover — Nylon Ripstop, Black
Tattooed Man Lighting a Cigarette
The Center Hong Kong
Tao Okamoto by Josh Olins for Vogue China August 2013
Hugo Bavot Jacket
SOPH. Hong Kong Store
Hiroshi Fujiwara Portrait at a Fashion Presentation
Adidas SLVR Fall/Winter 2012 Campaign
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.
Ghost in the Shell 2: Innocence Gynoid
Eero Saarinen — CBS Building, New York, 1965
Aitor Throup
Work by Aitor Throup, a British artist and designer who develops clothing and figures through drawing. His ink-and-wash figures include the project 'When Football Hooligans Become Hindu Gods'.
Rock House by UN Arquitectura / Juan Pablo Nazar
giuliano Fujiwara FW13 Editorial
Arc'teryx Veilance Fall/Winter 2013 Vest
Alexander Wang Fall 2013 Menswear — Hooded Leather Jacket with Face Mask
Craig Green Fall/Winter 2013
Hotel Aire de Bardenas — Cube Room with Outdoor Bath by López Rivera Arquitectos
Gezi Park Protests, Istanbul, May 2013
Engineered Garments Hooded Interliner Knit
Dark Suit — N.Hoolywood or Gareth Pugh Fashion Editorial
Undercoverism Fall/Winter 2012 Honeyee Editorial
Hong Kong Escalator
White Mountaineering x Porter Waist Bag
Haven Hall Long-Sleeve Cardigan Shirt in Navy
Rick Owens Naska Biker Jacket — FW12 Mountain
Porter (Yoshida & Co.) Navy Nylon Daypack
White Mountaineering x Saucony Jazz Original Pack
visvim × The Black Sense Market AW12
Mastermind Japan SS2013 "Dreams" Skull Kimono Robe
Aitor Throup Fashion Illustration
Maharishi Fall/Winter 2012 Lookbook
