Yohji Yamamoto
Autumn/Winter 1995-1996
’95-’96 Autumn-Winter Collections: Yohji Yamamoto
July 1995
hi fashion No.246
マレ地区の特設テントで、坂本龍一によるオリジナルのピアノ曲を背景に、ドラマを演じるように繰り広げられた。2シーズン続いたキモノに替わり、ボリュームのあるフルレングスのケープやドレスが登場。今回は、すべてが確かなクチュール的なカッティングとテクニックによって生まれたもの。悲しみのセレモニーを思わせる黒いドレスの中に、赤いクリノリンのコートがドラマティックに映る。
Held in a specially arranged tent in the Marais district, the show was set to an original piano piece by Ryuichi Sakamoto and unfolded as drama being played out. In place of the kimonos of the last two seasons, voluminous full-length garments such as capes and dresses came onstage. The whole was born out of firm couture-like cutting and techniques. Amidst black dresses reminiscent of a mourning ceremony, a red crinoline mirrored dramatically.
コットンフェルト
一般的にテクノファブリックは化学繊維を指すが、さまざまなハイテクノロジーを使って作ったり、加工したりしたウールやコットンの天然のものもテクノファブリックといえるのではないか。フェルトといえば固く締まった風合いの布だが、このフェルトは縮絨されていないふわふわの極めて軽いもの。毛布のようにはおるマクシ丈のコートに、深いVネックの同じくマクシ丈のドレスが組ませてある｡
Cotton Felt
The term techno fabric typically refers to synthetic fibers, but natural fibers like wool and cotton made or processed using various high technologies can also be considered techno fabrics. While we often talk of felt as a cloth with a firm texture, this felt is unshrunken, fluffy, and extremely light. A maxi coat worn on top like a blanket is paired with a deep V-neck maxi dress.
パリコレ30年の軌跡
Paris Fashion Week 30-Year History
March 2011
Fashion News Vol.161
西洋の服の伝統に真っ向から挑んだデザインでロマンティックな挑発を試みたシーズン。テーマは「未亡人」。裏地を晒したペチコート、禁欲的に見えるケープもバランスを変えることで憂いに満ちた表情を醸し出す。バックスタイルで見せるエレガンスが際立つ。
With designs directly challenging Western clothing traditions, a romantic provocation was attempted this season. The theme was Widows. Petticoats with exposed lining and austere-looking capes both shift the balance to create an expression filled with sorrow. The elegance displayed in the back designs stands out.
Yohji Yamamoto Collections
2014
Yamamoto & Yohji
Published by Rizzoli
The mysterious traveller finds her roots in Mittle Europa, romantic black capes and coats worn inside out revealing the beauty of the inner surface, skirts with horsehair underskirts, bustles, jackets slit open over the bare skin of the back, softly provocative.
Yohji Yamamoto, Autumn/Winter 1995-1996
March 16, 1995
Hôtel de Soubise
Music Setlist
BRIDGE, by Ryuichi Sakamoto
Music for Yohji Yamamoto Collection 1995
Ryuichi Sakamoto
güt (1996)
Distributed by Tower Records
Produced and Performed by Ryuichi Sakamoto
Creative Direction by Norika Sky Sora
Recorded and Mixed by Fernando Aponte at Right Track Studio N.Y.
Mastered by Bobby Hata at On Air Azabu Studio, Tokyo
A&R Masakazu Hirata (güt)
güt bounce Records Staff
Label Producer : Yoshikazu Ozawa
Label Director : Toshio Sasaya
Label SP Staff : Rieko Asano, Ryuichi Tamura
Label PR Staff : Yukitaka Sakamoto, Yoshifumi Watanabe
Tatsuro Yagawa, Nobuko Saito
Art Direction & Design by Hideki Nakajima
Photographs by Kazuhiro Kobayashi
Styling by Natsuko Kawabe
Special Thanks to Yohji Yamamoto, Inc.
Atsuko Hamazaki (Agent Concipio)
BRIDGE
SNAPS in Paris Collections: Yohji Yamamoto
July 1995
hi fashion No.246
Text & photographs by Tateo Tamagawa
アバンギャルドでミステリアス——。
はさみで時代を裁ち切る山本耀司は、現在パリ・コレクションに登場するクリエーターの中で最も強くカリスマ性を発散している。陽気に移ろうファッションの楽しみに、黒いモードを生み出すことで、知的で攻撃的な要素を加えたのが彼だ。
山本耀司に見るクリエーションの基本は、冷静に時代の流れを読み取って現在を破壊することだ。昨日まで正であった服を今日は負の世界に閉じ込め、破壊という手法で明日をつくる。この変り身の潔さに、ファンならずとも目が離せない緊張感がある。攻撃性を持った彼の服の支持者の多くは、時代と向き合い、身構える快感を求めてやまない。ほかのブランドに見るファン層が彼のそれと違うのは、甘さを見せない服から噴射する光線があるから。それが山本耀司のカリスマ性である。
マレ地区にあるスービズ館（現在国立古文書館）の内庭に特設テントを張ってのコレクション。黒のモードを一つのジャンルとして定着させた山本耀司のコレクションに集まるサポーターたちは圧倒的に黒の服が多い。クラシックなヨーロッパの服を日本の美意識でいかにモダンに解釈してくるか、それを楽しみに、そして確認しに集まるのだ。
時代を先取りするアバンギャルド派である彼の服は次のシーズンに街にあふれる服とは異なる。したがって2シーズン続けたキモノスタイルを着た人を目にすることはほとんどない。しかし会場に集まった人々は彼のエスプリをぷんぷん発散させる。内に秘めた強さ、モノクロームな知性、モダニズムの雰囲気の漂う会場はまさにモードのプロの集まりだ。
Mysterious avant-garde.
Cutting through time with scissors, Yohji Yamamoto exudes charisma stronger than any other creator currently at Paris Fashion Week. It is he who added an intellectual, aggressive component to the anticipation of high-spirited fleeting fashion by bringing the black mode forth.
The basis of creation as seen in Yohji Yamamoto is to destroy the present by calmly reading the current of the times. Clothes that were positive yesterday are trapped in a negative world today, and tomorrow will be created through the method of destruction. The gracefulness of this transformation creates a tension that even nonfans cannot take their eyes off. Many of the supporters of his aggressive clothes are eager to confront the times and seek the pleasure of taking a stand. What makes his fan base different from that of other brands is the ray of light that shoots out from his clothes, which do not show sweetness. This is the charisma of Yohji Yamamoto.
The collection was presented in a specially arranged tent set up in the inner courtyard of the Hôtel de Soubise (now the National Archives) in the Marais district. Having established black mode as a genre, Yohji Yamamoto has his supporters gathering for his collection wearing overwhelmingly black clothes. They are looking forward to seeing how he interprets classical European clothing in a modern way with a Japanese sense of beauty, and they gather to confirm this.
As an avant-garde designer who is ahead of his time, his clothes are different from those that will flood the town the following season. Therefore, it is rare to see a person wearing the kimono style of the past two seasons. However, the people gathered at the venue exude his spirit. The venue, with its inner strength, monochrome intelligence, and modernist atmosphere, is truly a gathering of fashion professionals.
Beyond Sweet, Beyond Black, Beyond 2001
March 17, 1995
The New York Times
Written by Amy M. Spindler
It seems the thought of spring has warmed the wintry souls of some of Paris's most tormented spirits, designers who have specialized in bleak fashion for a troubled world.
Rei Kawakubo, for Comme des Garcons; Martin Margiela, and Yohji Yamamoto showed their most lighthearted collections ever today, with bursts of color and, in the case of Mr. Yamamoto, a sense of the belle epoque. Rifat Ozbek offered his "ethnic astronauts," his view of what the future might have in store for fashion when the world's borders aren't global but galactic.
In one of the most emotionally charged moments that her often- controversial house has ever faced, Ms. Kawakubo sent out a collection called "Sweeter Than Sweet." It combined codified trappings of women's dress -- candy colors, lace, gingham, embroidery, ankle socks, tulle and saddle shoes -- in a way that purged their cloying attributes.
Ms. Kawakubo's approach is to choose a theme from constrictive Western dress and dissect, dissect, dissect. Then, she reassembles the pieces into something completely new yet with hints of the familiar. At her last men's show, in late January, those hints had harsh consequences. The coded pieces of her theme, "Relax" -- pajamas, numbers on jackets, footprints on tweed suits -- were interpreted by one critic as evoking Auschwitz.
In the resulting flurry of condemnation -- mostly from people who hadn't seen the show -- she was forced to move her women's presentation from where it had been held for six years, in the heart of a predominantly Jewish neighborhood of Paris. In new surroundings, a seedy theater in Pigalle, and under new scrutiny, Ms. Kawakubo proved how focused and fertile her mind is.
Ms. Kawakubo explained that she wanted to show, through clothes she called "beyond sweet," that "the energy from something sweet is good for the body, mind and spirit."
Her carefully orchestrated parade opened with thick gray felt suits mottled with marshmallows or cotton candy so that they looked like sticky cocoons. Kimono sleeves were sewn to the front of some jackets so that arms looked primly and piously extended in supplication. Schoolgirl ponytails stuck straight up from models' heads and were held high by wires, and the models wore fuzzy ankle socks with either saddle shoes or flat thongs.
Those cocoonlike coats led to the butterflies within, ruffled nylon dresses with lavender or salmon petals of organza in tiers. Then butterfly netting was thrown over black satin jackets, with white tulle skirts sprouting from beneath.
Next were the most astonishing creations, thick heavy embroideries in sherbet colors, in patterns normally formed by crochet, on pretty collared jackets and belled skirts with tulle beneath. Those were followed by flower-embroidered black tulle, worn over silk cream camisoles with sleeveless gingham dresses beneath. She ended with ball gowns, bustles and tulle madly sprouting from the sides or front of the embroidered dresses.
It was a collection that said "sweet" without a hint of irony but with affection for modern women who are wary of the word.
Mr. Margiela, a great admirer of Ms. Kawakubo, also showed a bit of tenderness this season, turning out his familiar pieces in black, but then offering them in salmon, cherry, raspberry and cassis. It was a beautiful palette, brightening the stark, almost Salvation Army mood of many of the clothes.
Mr. Margiela sent his models up into the bleachers of a circus outside Paris, to glide between rows of the audience. As rain pounded against the canvas above, lights flickered and a scratchy album played a waltz. Models wore scarfs over their faces colored to match their outfits, shoes and boots, which were shaped like cloven hoofs, and they often had swatches of dyed hair tied to their belts like half-successful headhunters.
There were jumpsuits clasped by thin belts, leather trousers under thin coat-lining fabric worn to the knee, fitted cardigans, long velvet princess dresses, mohair vests, quilted trousers to the calf, beautiful long strappy sheaths of pieced fake fur, collared capes, belted peacoats and a wonderful brown Norfolk jacket. At the end, in a new whimsical spirit, Mr. Margiela sent the models, without their masks, running through the stands with shocking-pink helium balloons.
Mr. Yamamoto, whose collection last season was full of Japanese silks, took a Western European turn this season, opening with black boleros draped with netting and ending with bustles beneath ball gowns.
The clothes lost none of their complexity, with one group of suits resting on models' bodies like false fronts on buildings. Coming, they were long jackets; going, they were like the back of vests, with buckles. Some trousers were pants in the front and pleated skirts in the back. Within the austerity of an almost entirely black show, the models often looked like 18th-century widows wearing their late husbands' clothes beneath their own dresses.
Ball gowns came in gray wool with white flowers or red velvet, and one big silk skirt was worn with a simple black angora turtleneck, a marriage between Mr. Yamamoto's past sobriety and his lush new mood.
Mr. Ozbek's show just afterward flung observers from a Japanese designer's view of the past to a Turkish designer's view of the future.
Sadly enough, at Ozbek, the millennium still involves women wearing skirts that are difficult to walk in, tight corselets and dresses so short the wearers can't bend over. The future here was only a superficial excuse for hologram sequins on a minidress; white quilted-nylon hot pants, leggings and cropped jackets, and bronzed and silver zip-back vests and zip-front coveralls.
But when cyberpunk jackets had velvet sleeves and fur cuffs or feathers, the show gave poignant expression to the tension between cultural identity and the pared-down, high-tech, homogeneous future that everyone from Andre Courreges to rave-clubers has envisioned.
Yohji Yamamoto, Autumn/Winter ’95-’96: Sapporo Collection
Music by Ryuichi Sakamoto
Sunday 16 April 1995 at 7:30pm
JR Hokkaido Naebo shop
Higashi 13-chome Kita 5-jyo Higashi-ku Sapporo
Yohji Yamamoto A/W 1995-96
Art Direction by Marc Ascoli
Photographs by David Sims
Hair by Guido
Make-Up by Linda Cantello
Design by M/M (Paris)
Printed in France by Gerfau Impressions
Models: Stella Tennant, Alexa, and Leonor
YOHJI YAMAMOTO
Winter 1995
Jap Magazine Vol.2 No.7
ドラマ罠
彼は全てを掌握している
彼女はただ衣装を与えられ舞台に立たされる
台詞もなければ振り付けもない
しかしその衣装を身につけたとたん
彼女は全てを理解する
彼は狡猾そうな笑みを浮かべ彼女を観察している
彼の衣装を身につけた彼女がどう変貌するのかをじっと窺っているのだ
舞台で繰り広げられているのは無言のドラマだ
彼女はまんまと彼の罠にかかってしまったかのようにみえる
しかしよく見ると彼女はしだいに衣装の呪縛から解放され序々に自由さを獲得してゆく
罠にからめ取られているのは実は彼のほうなのだ
いうまでもないことだが彼は山本耀司
彼女すなわち4人のモデルたちはAMANDA、MAIKO、石川亜沙美、DANIELA U.
写真アリゾナ五郎スタイリング安野ともこヘアメイク佐藤富太という面子でお贈りする
このドラマには結末はない
あなたは観客としていつまでも好きなだけ楽しむもよし
自らこのドラマに参加してその結末を探るという楽しみ方もよし
Drama Trap
He has everything under control;
She's just given a costume and put on stage;
No dialogue, no choreography;
But as soon as she put on the costume;
She understands everything;
He observes her with a cunning smile;
He is watching her closely to see how she will transform when she wears his costume;
What's unfolding on stage is a silent drama;
She seems to have fallen right into his trap;
However, if you look closely, you can see that she is gradually breaking free from the spell of the costume, and gradually gaining her freedom;
In fact, it is he who is being led into a trap.
Needless to say, he is Yohji Yamamoto.
She, the four models, are AMANDA, MAIKO, Asami Ishikawa, and DANIELA U.
Photography by Goro Arizona, styling by Tomoko Yasuno, hair and makeup by Tomita Sato.
This drama has no ending.
You can enjoy yourself as a spectator for as long as you like.
You can also enjoy the pleasure of participating in this drama and exploring its ending by yourself.
Photography Goro Arizona
Styling Tomoko Yasuno
Hair and Make up Tomita Sato
Photographed at Warelights Photo Studio
All dresses by Yohji Yamamoto.
For details, see In the Pages.
Link to the original interview: 山本耀司インタビュー平川武治
Link to the translated interview: Yohji Yamamoto interview with Takeji Hirakawa
Marie-Claire Editorial
Mémoire de la mode: Yohji Yamamoto
François Baudot
Published by Éditions Assouline (1997)
Longue robe en maille et gabardine de laine noire avec impressions de feuillages selon la technique traditionnelle japonaise dite "Yusen".
Long mesh dress and black wool gabardine with foliage prints in the traditional Japanese technique called yūzen.
Yohji Yamamoto Sunglasses
December 1995
MR. High Fashion No.75
ヨウジのサングラス。
繊細で華奢なタイプのメタルフレームから、キッチュでモダンなタイプのサングラスまで、普段からヨウジヤマモトの眼鏡を愛用しているという高橋幸宏。鼻筋の通った陰影の深い彼の顔には、オーバルやボストンなどの、ラウンドタイプのサングラスがよく似合う。
Yohji Sunglasses.
From delicate and slender metal frames to kitschy and modern sunglasses, Yukihiro Takahashi is a regular wearer of Yohji Yamamoto glasses. Round sunglasses, such as oval or Boston style, suit his round face with a deep shadowed line down the bridge of his nose.
SPECIAL EDITION: MR.Y.T.
鉄板や鉄線を、精巧な技術と緻密な計算を用いて、曲線的な優美なオブジェに作り上げたような、ヨウジヤマモトのサングラス。フラットな面とチューブの持つ丸みのバランスを融合させた、構築的なデザインが特長。フレームとレンズの色の組合せは、オフゴールド×グリーングレー、オフシルバー×ブルースモーク、オフグレー×グリーンスモークの3種類。UV（紫外線）カットレンズ使用。オフシルバー（フレーム）×ブルースモーク（レンズ）のサングラス¥24,000 ヨウジヤマモト（MURAI）/セーター¥21,000 yukihiro takahashi COLLECTION THE KNIT （ワグ）
Yohji Yamamoto sunglasses look as if they were made from steel plates and wires into curvaceous and graceful objects using elaborate techniques and precise calculations. They feature a structured design that fuses the balance between flat surfaces and the roundness of tubes. Three color combinations of frames and lenses are available: off-gold & green-gray, off-silver & blue-tinted, and off-gray & green-tinted, all with UV-protective lenses. Off-silver (frame) x blue-tinted (lenses) sunglasses ¥24,000 Yohji Yamamoto (MURAI) / sweater ¥21,000 Yukihiro Takahashi COLLECTION THE KNIT (WAG)
