Jamal Eddine

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Maison Martin Margiela 20 The Exhibition was a celebration of 20 years of Maison Martin Margiela, curated by the Antwerp Fashion Museum, MoMu. The exhibition itself was first open from December 2008 to August 2009 in Antwerp, where Martin Margiela studied fashion. It would travel to nearby regions like Munich and London afterwards. Visitors of the exhibition were surrounded by Margiela motifs, from Tabi boots to deconstructed garments to white atelier lab coats. Once again, the exhibition is a prime example of the coming together of fashion and art and Martin’s role in it. Garments from the Artisanal collection are displayed one-by-one, as viewers stack on top of each other trying to take a long gaze at the pieces as if they were at the Louvre staring at the Mona Lisa. Martin’s obsession with anonymity, paint, and the color white is tastefully portrayed in every page of the book that was available for purchase at every 20 The Exhibition.

20 The Exhibition


'Rei Kawakubo and Comme Des Garçons' not only shares with us an inside look at some of the most well-known CDG collections from the 1980’s, but also gives us insight into the depth and universality of her talent. We are able to see the behind the scenes of Kawakubo’s design studio, furniture designs, and CDG store interior design from all over the world. Kawakubo was also expanding and experimenting her range of runway models at the time, and began to work with celebrity names like Jean-Michel Basquiat and John Malkovich. We also see some beautiful images of the famous supermodel Naomi Campbell wearing CDG photographed by Peter Lindbergh, as well as several pages of behind the scenes content and runway show images.

It is wonderful to be able to see Kawakubo’s interior design process for her stores in London, San Francisco, and Aoyama which carried CDG’s entire collection. Featuring sharp angles and contrast, everything about each store has been specifically selected or designed to match the aesthetic of the brand, everything from the lighting to the clothing racks to the changing room had been personally picked out by Rei Kawakubo. This book shows us how far-reaching Rei’s talents are, showing no boundaries when it comes to one discipline or another. She isn't just a clothing designer, but a creator and curator of her entire vision.

Rei Kawakubo and Comme des Garcons

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In 1988, Martin Margiela founded his label 'Maison Martin Margiela' and began making waves in the fashion community almost immediately. From the first show in 1988 till his departure in 2008, the designer put out avant-garde looks season after season, with shows that often conveyed messages that went beyond the clothes themselves. Oddities of MMM shows included obscuring models' faces, so as to draw attention to the clothing itself, to the often unconventional choice of venues that brought viewers out of their comfort zones. In Margiela's own words, the style of MMM at the time was “a style of freedom”, with the designer and brand charting their own paths, while still remaining in the realm of high fashion. This uncompromising expression of original ideas and unique twists on classic garments defined the early years of the label.

Maison Martin Margiela

maison-martin-margiela_20-the-exhibition.pdf

Riley

The book '20471120' by Masahiro Nakagawa documents the history of 20471120 while masterfully capturing its essence. It opens with pictures from their Autumn/Winter 1998 Collection 'Link.' The season was presented in exhibition style within a large gallery in Tokyo. The brand’s mascot Hyoma is present throughout the book: A child bearing a goofy smile along with graffiti on his face, often sporting a colorful outfit. He is also diffused into other similar characters, like him with bunny ears, or a panda face. Towards the end of the book is a flowchart depicting a service the brand provided called the Tokyo Recycle Project System, a Margiela-esque process that reconstructs garments and repurposes them into something new. 'Recycouture,' as the brand calls it.

20471120

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20471120 is a Japanese fashion brand known for its avant-garde and futuristic designs. Founded by designer Isao Nakagawa in the early 1990s, the brand's name represents a future date, reflecting its commitment to innovation and forward-thinking fashion. The brand is renowned for its experimental approach, often incorporating unconventional materials and bold, eclectic styles that challenge traditional norms. 20471120 has garnered a cult following for its unique and boundary-pushing aesthetic, making a significant impact on the global fashion scene.

20471120_20471120.pdf

Virginia Creeper

Offbrand Library

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Raf Simons’ seminal Autumn Winter 2002 collection, titled ‘Virginia Creeper’, is one of the most revered collections of the 21st century. As a powerful representation of his early fashion journey, the show is centered on Simons’ unique approach of storytelling with graphics and typography. With a focus on the Virginia Creeper plant, Simons creatively portrays an eerie relationship between humans and nature. The native North American plant is a fast-growing, dark-green vine that clings to walls and spreads until it occupies an entire space. Simons references this plant with an acid-wash finish applied to the collection’s university-branded sweatshirts & hoodies (the plant contains oxalic acid, a chemical toxic to most mammals). As time goes on, the acid eats away at  the garment – just like the Virignia Creeper toxifying its environment.

The collection also showcased a deeper materials exploration: trench coats, oversized leather jackets & trousers, hunting vests, digital camo knit sweaters, and even a sleeping bag. These pieces emphasized Simons’ fascination with Americana, as models wore college-style typography sweatshirts and varsity jackets under oversized plastic ponchos and trench coats. The runway was set in a dim, red-lit woodland area filled with trees and bushes. Models emerged from the bushes and continued their walk down the trail, elevating the dark and mysterious undertones of the collection.

The growth of the Virginia Creeper plant eerily mirrors that of the human species: both are seemingly harmless organisms that ultimately overwhelm and consume their environment, until there are no traces of original space left.

A/W 2002 'Virginia Creeper' Catalog

Mutilate documents 12 years of Belgian designer Walter Van Beirendonck's wild, bold, playful, and salacious approach to fashion across both women's and men's collections, often incorporating subversive and challenging elements. It showcases a curated selection of photography by Jean-Baptiste Mondino, Juergen Teller, and Carel Fonteyne, alongside fun collages. It is not to be confused with an autobiography but rather "a kaleidoscope of images and words that mark(ed) my world."

A vibrant, image-rich book created by Beirendonck and Cornelia Lauf, this interactive piece features die-cutting, fold-out plates, embossing, pop-ups, mirrors, and two functional zippers on the cover. Although short, spanning only 86 pages, the book delivers a visual punch in line with Beirendonck's usual aesthetic. Out with the old and in with the new—because even if the book evokes a hint of nostalgia, it is meant to inspire action, encourage moving forward, and kiss the future!

Mutilate

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As a graduate of the LUCA School of Arts, Raf Simons, a Belgian fashion designer, has been a trailblazer for contemporary fashion and luxury streetwear. Raf began researching menswear on his own and began his namesake brand, Raf Simons, in 1995. His early designs were a direct representation of his obsession with youth culture, rebellion, European punk music, and David Bowie. Raf’s work in the 90s and early 2000s established himself as a borderline cult-leader in fashion, as the audience always paid attention when something new came from the designer and his brand. Influenced heavily by the Antwerp 6+, Raf was able to curate and pave his own niche road in the fashion industry. He never deviated from his reference foundational pillars of youth culture, rebellion, music, and films. Everything was intentional and everything seemed effortless. That was the ethos that Raf created & upheld for decades of fashion and creative expression.

Raf Simons has also been a pioneer of collaborations and bridging entities on opposite sides of the cultural and artistic spectrum. From household names like Fred Perry, Brain Calvin, Adidas, Sterling Ruby, and the Robert Mapplethorpe Foundation, Raf has always believed in the concept of taking two and making one. The result is an extensive portfolio of creative collections that will withstand the test of time and saturation. Along with his namesake brand, Raf Simons has also gotten several nods and co-signs from major fashion houses. In 2005, he was appointed to the creative director role at Jil Sander, establishing his first opportunity to create and showcase womenswear. After 7 years at Jil Sander, Raf continued his womenswear journey at Dior and dabbled with Haute-Couture in 2012. Raf’s time at Dior propelled his ethos as one of the titans of fashion design, as his minimalist tailoring complimented the incorporation of genuine emotion via artistic expressions. His three and a half tenure at Dior came to an end via resignation and Raf took his talents to Calvin Klein as their Chief Creative Officer. This was Raf’s first attempt at testing his American influence, as he began showing in New York City. Though his time at Calvin Klein was his shortest creative appointment, Raf was able to continue his journey of effortless intention and establish himself as one of the Godfathers of fashion design. In 2020, Raf joined Miuccia Prada’s Prada as a co-creative director and began showing in Milan in 2021. Not only was this appointment a full-circle moment for Raf, it was a moment of closure for fashion. Raf, who spent his entire fashion career poking at the status quo, continues to push the design limits with his forever young rebellious spirit. That is the true definition of a timeless legacy.

Raf Simons

2002 A:W Raf Simons 'Virgina Creeper'.pdf

Felix Ramirez

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For almost 5 decades, Issey Miyake has been pioneering the concept of modern Japanese heritage in fashion. As a survivor of post World War II trauma, Issey Miyake was born into the destruction of his country and participated in its rise and redemption. After his studies, Miyake would travel to Paris then New York to accumulate experiences and ideas to build his fashion empire. His Western travels would land him back in Tokyo, where he established his namesake brand that would ultimately revolutionize Japanese fashion and global fashion as a whole. Miyake has spent the past 5 decades reinforcing his design motifs: texture, shape, fabric, proportions, and technology. He blends these motifs with his equilibrium balance of Eastern and Western heritage. Miyake often references his Western experiences but never forgets his Eastern roots, creating a different world for his garments to exist in.

Making Things

The yearly lookbooks that are released are most pertinent to understanding the unique way Kapital approaches the world - acting as a visual language of the philosophy of Kapital. They produce these with full creative control with often little change to the core team, adhering to guidelines set only by themselves with seemingly no limitation. This in itself seems to defy the way we collectively approach the fashion process, to remain true and unique at all costs. They have and continue to participate in eccentric defiance. 

Aloha Brigade Lookbook

The Legend of Harajuku is the perfect title to describe Goro Takahashi, who himself is an enigma in Japanese and American society. Broken up into 3 volumes, the first volume provides an introductory outlook on Goro Takahashi’s life journey. The book utilizes various styles of photography to narrate his life experiences and interactions, all while building the foundation to display Takahashi’s fascination with Native American society and culture. The grainy images of a young Goro Takashashi is juxtaposed with detailed images of his craftsmanship and products. The sections of the book have a focus on the various products that Takahashi has masterfully crafted throughout his lifetime, such as belts, leather goods, and rings.

Legend of Harajuku Goros, Volume 1

Legend of Harajuku Goros, Volume 2

Kapital has consistently approached fashion from multiple perspectives since its birth in 1984. Though the clothes themselves are held in high regard for their visual details and construction, it can be argued that the brand's editorial lookbooks shift its clothing into an unbelievable context. Photographed by Eric Kvatek and directed together with Kapital’s Kiro Hirata, the Kapital lookbooks serve to bring its readers into worlds unbeknownst to the everyman, its content ranging from the spiritual beings of faraway islands to the desolate lifestyles of the countryside and misfits of city alleyways, to name a few. It’s no wonder that so many individuals from all walks of life gravitate to such a culturally diverse brand 

Fukkin Kountry LookBook

The Unknown Store

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Calvin

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When looking at the unique world of Japanese fashion culture both past and present, it is almost impossible to overlook Kapital.

The Legacy of Kapital: The Philosophy & Cultural Depth Behind the Cult Japanese Brand

Let's shift our focus to the Spring Summer 2004 collection, “May the Circle Be Unbroken”, a pivotal moment for the label.

Collection Deep-Dive: Raf Simons SS2004 'May The Circle Be Unbroken'

It’s important for people to understand that this show wields emotional resonance.

Maison Martin Margiela's First Show, Spring 1989: Deconstruction and Interpretation

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Kapital, a cult Japanese fashion brand founded in 1985 in Kojima, Japan, stands out for its authenticity and individuality, with Kiro Hirata leading the creative direction. Known for unique themes like Boro denim and Century denim, Kapital's annual lookbooks reflect its philosophy, showcasing experimental garments, challenging proportions, and distinctive fabric choices. The brand explores diverse cultures and historical periods, with each catalog offering a unique visual and storytelling experience. Despite its growing popularity, Kapital maintains a DIY approach to catalog creation, emphasizing raw, unproduced aesthetics. The text delves into the complex topic of cultural appropriation, questioning the brand's portrayal of various cultures while acknowledging the difficulty of making clear distinctions. In recent years, Kapital has shifted towards a more encompassing approach, incorporating global sources into its styling, all while maintaining a commitment to eccentricity. The brand's lasting cultural impact is acknowledged, prompting appreciation for its unique visual language and influence on the fashion industry.

Kapital

kapital_lookbook_aloha_brigade.pdf

Riviere Fougy

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In the midst of the 1990s, the world bore witness to a force to be reckoned with: Japan’s Urahara Streetwear Movement. The movement was a positive feedback loop between all of Tokyo’s underground creatives - look no further than the likes of Tetsu Nishiyama of WTAPS, legendary graphic designer Sk8thing, and Hikaru of Bounty Hunter, all of whom began their respective journeys in the same cultural melting pot. But of course, the Urahara Movement can’t be discussed without mentioning the impact of magazine segment ‘Last Orgy.’

Created by legendary Japanese Hip-Hop duo Tiny Panx, Last Orgy gained the reputation for being a taste-making phenomenon. Tiny Panx eventually distanced themselves from their creation, passing the torch to two newcomers to the scene: Jun Takahashi of Undercover and NIGO of A Bathing Ape. Both in their mid-20s, the infamous streetwear tag team continued Last Orgy’s legacy of curation and taste making through ‘Last Orgy 2’, from showcasing covetable items to news from the underground scene and more. Last Orgy 2 was a source that, to all involved, was the pinnacle of creative hope for years to come.

Made possible by donations from several fashion enthusiasts in the community, this issue of Last Orgy 2 has now been fully translated. Those who have a curiosity for pre-internet streetwear memorabilia now have the chance to delve even deeper.

Last Orgy 2, Special Edition with Translation

When people hear the name ‘Comme des Garcons’, a wide variety of images and feelings pop up, proving that the Japanese brand has created an aesthetic universe of its own. This masterful execution of fashion world building couldn't have been fully expanded upon without the catalyst that was the SIX Magazine. Created in 1988, SIX served as a breeding ground for experimental branding with a small twist: the branding rarely (if ever) involved Comme des Garcons’ own clothing. Instead of falling back on conventional methods of fashion advertising, the bi-annual publication incorporated non fashion related artwork and photography to convey the Japanese brand’s collections. SIX also tapped into a wide array of creatives who sometimes weren’t even involved in the industry, and yet this is exactly what gave fashion a breath of fresh air. Not only did SIX solidify Comme des Garcons as an entire entity of its own, it also changed our own perception of fashion to this very day.

SIX Number 6

NEO TOKYO IS ABOUT TO EXPLODE. This instantly recognizable phrase is from one of the anime industry’s most iconic films, Akira by Katsuhiro Otomo. From the movie’s explosion in popularity to its dedicated cult following, Otomo became increasingly known for his range of enigmatic creations. As such, it came as no surprise that Rei Kawakubo would collaborate with him for Comme des Garcons’ Spring/Summer 2013 Campaign. The artwork from the campaign features characters, scenes and manga pages from Akira, and are seamlessly combined with Otomo’s more standalone art pieces. This collage of imagery results in the form of familiar yet alien pieces of works, drawing parallels with CDG’s deconstructed and raw clothing of the 80’s. The collaboration has proven to stand the test of time, with the collaboration’s prints and items still being sought after to this very day.

Katsuhiro Otomo for Comme des Garcons DM 18

Last Orgy 2, Issue 17 with Translation

Last Orgy 2, Issue 16 with Translation

Last Orgy 2, Issue 12 with Translation

SIX Number 4


The 'Yohji Yamamoto Memories' book acts as a retrospective of some of his most notable advertisements and editorial images. He has had quite a long career as a fashion designer, first starting out in the 70’s. The book mostly covers his work through the 80’s and 90’s and offers us a look behind the dark curtain of Yohji Yamamoto’s creative vision and meticulous design process. Some of the images show him working on choosing and tailoring the garments as well as some of his original sketches for runway looks which are stunning. Many of the photographs in the book were run in high-end fashion magazines like Vogue or Marie Claire, and Yamamoto had the pleasure of working with a lot famous fashion photographers at the time like Paolo Roversi, Nick Knight, Arthur Elgort, and David Sims. Some of Yamamoto’s most famous advertisements and campaigns can be viewed in this book and gives us a phenomenal insight into the world of Yohji Yamamoto.

Yohji Yamamoto Memoires


Although his first collection was released in Japan in 1977, it wasn’t until the mid 80’s and 90’s that Yohji Yamamoto became an influential name in the world of fashion. Photographer David Sims shot these impressive images for Yamamoto’s Autumn/Winter 1995 lookbook, one of the designer’s more symbolic collections from the 90’s. The use of flat color of the simple backdrops really allows the sparse color and details of the pieces to stand out. These bright images are mixed with black and white photos and still lifes that contribute to the overall artistic style of the book. This is an impressive selection of images that shows us one of Yohji’s collections from the height of his career and influence in the 1990’s.

AW1995 Lookbook

This Universe of Fashion book was released in 1998 under Rei Kawakubo’s Comme des Garcons label and features iconic advertisements and photographs used in CDG's Direct Mail ads. As described in the short article from Universe of Fashion, Rei Kawakubo is an honest and sincere designer, and enjoys working and collaborating with creatives and artists of all types. She loves experimenting with other artists including photographers, graphic designers, architects, and even floral artists. After looking through some of the Direct Mail ads, it is clear that Kawakubo really enjoys the process of working alongside other people and how she can trust other artists with her vision. Universe of Fashion also explains her interest in photography and color, both of which have directly impacted the clothing she makes and the imagery she puts out to represent her brand Comme Des Garçcons.

Universe of Fashion: Comme des Garcons

Last Orgy 2, Issue 14 with Translation

Katsuhiro Otomo for Comme des Garcons DM 13

In 2015, Undercover designer Jun Takahashi launched a retrospective exhibition in commemoration of his brand’s 25th anniversary. The exhibition went into great detail on the cult brand’s history and designs, from the early days being stocked in Ura-Harajuku’s NOWHERE store, to an expansive selection of runway looks and designs surrounding the brand’s unique vision. Labyrinth of Undercover was released alongside this exhibition, featuring select looks from all of Undercover’s runway shows, from 1994 to 2015. In addition to the runway looks is also a full list of collections with descriptions of the corresponding themes and meanings. The book eloquently serves as a time capsule through which readers can grasp a substantial understanding of the cult brand's legacy from the 90s to the modern day.

Labyrinth of Undercover

Katsuhiro Otomo for Comme des Garcons DM 17

Rei Kawakubo has been perpetually pushing the fashion world forward through Comme Des Garcons since her designs first hit the market in 1969, and her SS1997 show ‘Body Meets Dress, Dress Meets Body’ was no exception. Featuring bumpy, asymmetrical lumps without rhyme or rhythm, the season was just as perplexing during that time as it is now. However, the manner in which this season was advertised may shed some light on Kawakubo’s intent and inspiration. Featured in CDG SIX 1/4 in collaboration with Visionaire No. 20, the advertising images were featured next to photos of seafood and various crustaceans of similar colors. In the amorphous designs of that season, Kawakubo may have been referencing humanity's genetic origins, or perhaps even the way forms mutate and shift over millennia as evolution takes its course.

SIX 1/4

High fashion is notoriously known for its displays of status and extravagance, so much so that it overshadows the creative genius of those who reside within the industry. But despite its outward projection of affluence and aspiration, many fall victim to its financial burdens, with a countless number designers and brands falling into the wayside as a result. Though many try to hide these struggles behind displays of success, Yohji Yamamoto heads in the opposite direction through his book ‘My Dear Bomb’. A byproduct of Yamamoto’s struggles with the bankruptcy of his company in 2009, the book acts as a canvas through which he expresses his inner thoughts, turmoils and sensibilities. A rare look into the mind of fashion’s most respected designers of our time, the contents of ’My Dear Bomb’ range from his philosophical thoughts to personal design principles, thoughts on the human body, relationships with women, poetic sensibilities, and more.

My Dear Bomb

Katsuhiro Otomo for Comme des Garcons DM 1

This Spring/Summer 1996 collection from Undercover, easily named 'Under The Cover', welcomes us into the young creative mind of budding designer Jun Takahashi. The book was created along with the collection and gives us a brief look at drawings Takahashi had made in order to design and produce the garments. He used monster-type figures you would see in horror movies as models for the collection. The book shows us behind the scenes photos as well as detailing how the masks and characters were created. The cenobyte-type figures seem as if they are trapped in some colorful prison or hospital and all wore clothing that matched the design of their complex features. The color blocking walls surrounded the figures, sometimes posed with objects and small environments, as if each were in their own cell. 

Under the Cover

The Number (N)ine Smart Magazine special, published by Takarajimasha on September 15, 2005, is the quintessential guide for Number (N)ine’s AW2005 collection, 'The High Streets.' It includes photoshoots, interviews, an item catalog, and a retrospective of the brand from SS2001 to AW2005. When most people think of this collection, an image of the infamous hybrid cargo pants conjures up in their minds, and while it is definitely a hallmark of the season, there is more to it that often gets overlooked.

The season as a whole is a hybridization of Native American and grunge culture. There are some items that have an obvious influence, such as the furs, feathers, and fringe that decorate many of the outfits. The grunge garments are flannels, jeans, and Cobain style sunglasses. It may sound all over the place, but the photoshoots present in the magazine show how well these themes work together. The catalog gives a glimpse at the retail prices for the season, ranging from around $400 to $4000.

A fun fact about this book is that it also came with an appendix that included two pins and a rubber ring, each bearing The High Streets insignia.

SMART Magazine Special

SIX Number 5

From interviews with Martin Margiela himself to photos of avant-garde creations made of recycled objects, the designer's pandora box of creativity flows freely in Cream Issue 09, with his uninhibited creativity being on full display.

Cream Issue 09

Throughout Undercover’s two and a half decade run, Jun Takahashi printed and had numerous graphics featured on t-shirts, with graphics ranging widely in purpose and aesthetic. In Undercover's 'TGRAPHICS' book, many of these unique and wide ranging prints are explored and shown off in both textile and original art forms. The art featured in this book stretches from before Undercover was even its own brand entity, to its more recent work from 2015. Some key highlights include work from Takahashi's time in the Tokyo Sex Pistols, prints from SS2003 'SCAB', AW2001 'D.A.V.F.', and many other celebrated seasons. From punk inspired works to the more high art minded pieces, Undercover has truly done it all.

TGRAPHICS

Number (N)ine still exists today, however the soul and spark of the brand is long gone, with Takahiro Miyashita having left Number (N)ine following the presentation of “A CLOSED FEELING” in 2009. This leaving of Number (N)ine marked for many the end of Takahiro Miyashita’s brainchild. In this rare feature, translated with the help of the ARCHIVE.pdf community, the designer talks about his life, his early youth, hooliganism, and even his deeply held feelings of sadness. This feature also contain interviews with those close to Miyashita, as well as and quotes from designers, along with the design team. This booklet seems to act as a swan song, marking the end of this period of Miyashita’s life, and allowing closure while still providing comfort and reflection towards the beautiful legacy he left at Number (N)ine. While quite somber and at times saddening, the feature ends on a rather mixed note, with the writer encouraging Miyashita to “KEEP BURNING” rather than too merely fade away.

Truth of Number (N)ine

Katsuhiro Otomo for Comme des Garcons DM 25

Last Orgy 2, Issue 11 with Translation

Last Orgy 2, Issue 23 with Translation

Released in very limited amounts in 1997, Comme des Garcons Visionnaire 20 was a rare peek back into the archives of Rei Kawakubo and Comme des Garcons. The book itself was highly limited, with only 2,800 copies being produced, and each one being hand numbered. What's contained within the pages of this book is more interesting than its limited nature.

Rather than merely having Kawakubo and her label's staff put together outfits, she decided to let other visionaries such as Karl Lagerfeld, Alexander McQueen, and Nick Knight each put together looks for the book. By digging through CDG archives stretching back as far as 1982, each creator had a wide array of garments to choose from. What resulted from this meeting of creative minds is nothing short of genius, with each participant producing radically different images. Ranging from metal restraints, to the streets of Hong Kong, the outfits fused the avant-garde works of CDG with a wide variety of fashion philosophies and settings. The looks themselves are marvelous, with some being glitzy and glamorous, while others toyed with darker themes. The book itself is now considered a collectors item, with prices ranging anywhere from 1,000-2,000 USD.

CDG and by extension Kawakubo are best known for their avant-garde works, which range all the way from deconstructed garments to fragrances. The theme that has tied decades of her and CDGs’ work together has been the commitment to being unflinchingly artistic. In this book, she let artists take her work out of this context, and create something new out of her existing ideas, in a quite rare move for Kawakubo. The outfits featured in the book mainly show the stylist’s idea of fashion, but like darkness creeping across the land, Kawakubo's influence shadows and lords over all of it.

Visionaire 20: Comme des Garcons

Last Orgy 2, Issue 13 with Translation

Last Orgy 2, Issue 10 with Translation

Designer Issey Miyake and photographer Irving Penn first met in New York City in the 80’s. Penn and Miyake kicked it off and eventually Irving Penn flew to Japan to photograph the early days of Miyake’s Design Studio. Penn was able to view the behind the scenes of Miyake’s experimenting with his process of creating the pleats for “Pleats Please!”. The book shows some of Miyake’s most famous pieces in beautiful detail photographed on clean white backdrops with bright light to capture the pleat pattern. The models all were draped in garments of bright colors and intricate patterns and pose in an almost theatrical manner. During this time in the 80’s Miyake had been working with several ballets and theatre plays doing costume design. As a child he also had always wanted to be a dancer so we continue to see these performance arts inspiring Miyake with further collections. The photos were used as advertisements for Issey Miyake, they also made this limited run book of the stunning photographs the two artists collaborated on in the 80’s.

Issey Miyake Photographs by Irving Penn

Katsuhiro Otomo for Comme des Garcons DM 24

Overwhelmed by hype, many newcomers to fashion find themselves uninformed on the true cultural impact of Raf Simons; Look no further than the flexing of his pieces on Instagram and people bragging of purchasing his archival garments for thousands of dollars. To counteract this superficial point of view, we need to equip ourselves with the knowledge necessary to truly understand Raf’s work. One such article of knowledge is the iconic book: Raf Simons Redux. From his very first collection to the now iconic collections such as ‘Consumed’ and ‘Riot! Riot! Riot!,’ Redux takes you into the true essence of Raf Simons. The content ranges from photos illustrating youth and the counterculture, to various works the delve into his philosophy and more. Combined with Raf Simons’ ‘The Fourth Sex’ book, Redux will forever change your understanding of this designer for the best.

Raf Simons Redux

Katsuhiro Otomo for Comme des Garcons DM 5

Last Orgy 2, Issue 15 with Translation

Katsuhiro Otomo for Comme des Garcons DM 14


Jun Takahashi has always been known as an innovative designer who loves referencing history, culture, and his own personal life in his works. This particular 2011 season is yet another example of this endeavor, as depicted in the 2011 'UNDERMAN' Photo Book. The SS2011 Undercover collection titled 'UNDERMAN' features a fictional hero in the year 20XX who restores lost souls incapacitated by the forces of evil. With the story and costume design by Takahashi and photography by Katsuhide Morimoto, Underman was Takahashi's portrayal of Japanese superheroes through fashion. Besides the extensive clothing collection, Takahashi also created a lookbook using a booklet binder of trading cards and a set of miniature figurines in collaboration with Medicom Toy.

Underman Photo Book

Though many passionate followers of Undercover would say that its greatest collection to date is SS2003 ‘SCAB,’ a select few would state otherwise. During the winter of 2005 Undercover presented ‘T,’ an esoteric collection that incorporated the concept of deconstruction and reconstruction. From the religious symbology on the runway to the designs of fictional German bands under the equally fictional record label ‘Undercover Records,’ many found 'T' to rival the likes Undercover’s earlier collections by a long shot. Many found it to be reminiscent of Maison Martin Margiela’s work; this is not a surprise given that Jun Takahashi was influenced by Martin himself as well as Rei Kawakubo of Comme des Garçons. In commemoration of this collection, the Cream Spring Edition book was released solely through Undercover’s Hong Kong store. It features backstage photography of the construction of the collection, sketches of the various clothes and designs by Jun Takahashi, photos of the runway, various interviews from both Jun and Undercover staff, and more. This combination of aesthetics and valuable information only brings its reader deeper into the world of Undercover and 'T'.

Cream Spring Edition Issue 04

SIX Number 3

Japanese cultural icon Hiroshi Fujiwara and Jun Takahashi of Undercover have created this publication as an ode to Seditionaries. With Fujiwara working under Westwood and McLaren during the 80s and Takahashi being the lead singer of the Tokyo Sex Pistols, it comes as no surprise that Seditionaries would impact both individuals’ achievements at a profound level. The clothing featured were collected by both individuals since the mid 80s to early 90s, each carefully preserved and cherished over the course of decades. With the publication amassing over 350 items, this Seditionaires collection stands the test of time, giving birth to both new fashion enthusiasts and designers around the world.

Jun Takahashi and Hiroshi Fujiwara Seditionaries Collection Book

Letting Alan and Bê tell their amazing stories. It’s time to give them their flowers.

From Boston to the World: A Conversation With Alan & Bê Bilzerian

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Yohji Yamamoto was born in Tokyo and grew up working with his mother for her dress tailoring business. At first he earned a degree in Law, but after graduating it was his mom’s tailoring work that led him to study fashion design at the Bunka Fashion College, eventually graduating in 1969. After discovering fashion from his mother at a young age, Yamamoto has now been revered as a master tailor known for his experimental interpretation of the Japanese aesthetic. The first Yohji runway shows were held in Tokyo in the late 70’s and he eventually had Paris and New York debuts during the early 80’s.

These first fashion week shows drew in large crowds and Yamamoto began to gain traction in the press. By the early 90’s Yamamoto had developed a dark avant-garde lifestyle that was extremely appealing to many; Long draped dresses, almost sculptural jackets, and large hats are all staple pieces to both his mens and womenswear lines. Yamamoto does not design his clothing based on any trends in fashion, he simply uses his own inspiration and outlook to make his ideas come to life. Alongside both Yohji Yamamoto Mens and Womens collections and sub-label 'Y’s', 'Y-3' was created in 2003 acting as an experimental sportswear line. Yohji Yamamoto is the godfather of Japanese fashion in a sense, paving his own lane, doing what he does best, and not veering off track, which is why he is such an emblematic fashion designer.

Yohji Yamamoto

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From its inception as a leather motorcycle riding-gear company in 1988, Richard Stark has transformed Chrome Hearts into a cult-classic brand that churns out handmade jewelry, most notably in sterling silver; apparel, eyewear, luggage and leather goods; and handcrafted furnishings and home items. And let’s not forget all the oddities that exist within the Chrome Hearts world, such as toilet plungers, baseball bats, nail polish, tools, bicycles, and much much more. Three decades later, Chrome Hearts still produce their products in California, and the brand ethos has not significantly shifted. Privately owned by the Stark family, the brand still captures the ‘Fuck You’ essence that existed in the late 80s and early 90s, and their authorized retailer list can still fit on one page. 

Chrome Hearts Richard Stark Photograph

Khan Delin

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The book, Issey Miyake: East Meets West, came out in 1978 and features an impressive contrast of designs influenced by both Eastern and Western cultures. East Meets West was the first ever monograph that was created about the living fashion designer, and its importance is unquestionable. With over 200 pages of full bleed color images featuring some of Issey Miyake’s colorful clothing, the book truthfully depicts the designer’s passion for design, culture, and authenticity. From editorial photos shot by the likes of Noriaki Yokosuka (as covered in our previous post), to the capturing of runway spectacles that combine movement with clothing, it goes without saying that East Meets West immerses you into the fantastic world of Issey Miyake.

East Meets West

An exclusive interview with one of Japan's most obscure designers.

From The Runway To The Roadway: Interview with Shinichiro Arakawa

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Chrome Hearts traces its roots to a Hollywood carpenter, Richard Stark, who, after a serendipitous movie costume design opportunity, co-founded the brand in a Los Angeles garage. Initially renowned for high-quality leather goods adorned with sterling-silver motifs, Chrome Hearts gained prominence among rock and punk bands, ultimately earning Richard Stark the CFDA Accessory Designer of the Year award in 1992. The brand's journey, marked by a split among founders in 1994, continued with Laurie Lynn joining and steering it towards global and digital success. Chrome Hearts maintained an aura of exclusivity, opening flagship stores worldwide but avoiding direct online sales. Its recent mainstream surge, fueled by hip-hop endorsements, led to adaptations, embracing e-commerce and online resale. Despite memes and widespread logo saturation, Chrome Hearts, still owned by the Starks, stands resilient in its commitment to timeless designs, heritage, and non-conformity in the ever-evolving fashion landscape.

Chrome Hearts

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Punk. Fantasy. Couture. Counterculture. Believe it or not, all of these words and more come to mind when people hear the name ‘Undercover’. From its highly acclaimed collections capturing the essence of the times, to collaborations with a wide range of brands including Supreme and Nike, the Japanese cult brand is a pioneer in combining youth and countercultures with high fashion over the course of decades. Its impact on both fashion and culture as a whole is simply incomprehensible, but perhaps we can gain a clearer understanding of it through it’s founder Jun Takahashi.

Born in 1969 in the countryside of Japan, Jun Takahashi radiated rebellious energy from the very beginning, becoming infatuated with English punk band Sex Pistols and punk-esque designer Vivienne Westwood from a young age. This fascination with clothing led him to enroll in Japan’s prestigious Bunka Fashion College, where he would create Undercover together with his friend Hironori Ichinose. The beginnings of Undercover consisted of clothing inspired by the work of Vivienne Westwood, but soon began to find its own voice and soon enough its own cult following. Takahashi, together the Japanese fashion figures Hiroshi Fujiwara and Nigo, created the ‘limited streetwear’ formula before the likes of Supreme ever did, creating a mysterious aura around his brand as a result. This strategy of incorporating high quality clothing with youth and streetwear sensibilities would build up Undercover’s notoriety over the years, eventually taking the spotlight on the world stage from its debut Paris collection at Paris Fashion Week in 2002 and beyond. The rest is history: Undercover has proven itself as a force to be reckoned with, influencing both people in the fashion industry and creatives who dream for greatness. With Undercover’s existence in this world, who is to say that greatness is just a dream?

Undercover

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These Grey Days

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For this special edition of HUGE, Dior Homme’s AW2006 Collection 'These Grey Days' was showcased. The title of the collection derives from a song of the same name by Eight Legs, with an extended version of the track accompanying the runway show. It is definitely worth a watch, and can only be described as teenage angst wrapped up in haute couture. Arguably the height of Hedi Slimane’s era at Dior Homme, this magazine nonchalantly reminds us why Hedi is loved in the fashion world, and that people still adore his work, old or new.

The book opens up with an editorial shoot styled by the legendary Tsuyoshi Noguchi, who was the go-to stylist for editorials at the time. Then we are taken to the 'Dior Homme Diary,' with direction and photography done by Slimane himself. Following up the diary is a six page interview with Hedi. Concluding the magazine special is a catalog showcasing items from the season along with their prices. The collection offers an array of sartorial goods, with tuxedo jackets, cummerbunds, and suits to name a few. Formidable formal attire but still with the rockstar edge Hedi brought to the table.

Dior Homme by Hedi Slimane for HUGE Magazine

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Hedi Slimane’s era at Dior Homme from 2000 to 2007 remains a defining chapter in the history of menswear, where the designer's vision crystallized into a series of iconic collections that reshaped the male silhouette. Slimane's razor-sharp tailoring, with its narrow cuts and slender fits, drew heavily from the raw energy of rock and roll and punk subcultures, imbuing Dior Homme with a rebellious spirit tempered by meticulous craftsmanship. The collections often embraced a monochromatic palette, where deep blacks dominated, allowing the textural interplay of leather jackets, skinny ties, and fitted blazers to speak volumes. Models appeared as if sculpted, their bodies encased in garments that seemed both armor-like and second skin, echoing a modern-day elegance that was both stark and sophisticated. Slimane's influence extended far beyond the runway, with his slim silhouette becoming a global phenomenon, the very essence of a new masculinity that was as refined as it was daring. Today, his pieces from this era, particularly the razor-sharp suits and signature leather jackets, are coveted relics—testaments to a moment in fashion that continues to resonate.

Dior Homme

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Issey Miyake was revered as a mystic figure with a profound understanding of humanity. Born in Hiroshima in 1938, witnessing the city's destruction by a nuclear bomb shaped his existential perspective. Miyake's career began in Paris, influenced by the May 1968 protests, and later, he established the Miyake Design Studio (MDS) in 1970. His design philosophy focused on simplicity and pragmatism, creating garments that made life easier. Collaborations with artists like Irving Penn and a commitment to sustainability marked his influential career. Miyake's contributions extended beyond fashion, impacting Japan's creative scene, and his ethos of moving forward and fostering curiosity transcends art and clothing. After relinquishing design control in 1999, he focused on innovative textiles until his passing. Miyake's legacy is defined by a relentless pursuit of progress and curiosity.

FASHION SCANS

20 THE EXHIBITION

Maison Martin Margiela . 2008 . 2008

20471120

20471120 . 2004 . 2004

A/W 2002 'VIRGINIA CREEPER' CATALOG

Raf Simons . 2002 . 2002

ALOHA BRIGADE LOOKBOOK

Kapital . 2006 . 2006

AW1995 LOOKBOOK

Yohji Yamamoto . 1995 . 1995

CHROME HEARTS RICHARD STARK PHOTOGRAPH

Chrome Hearts . 1997 . 1997

CREAM ISSUE 09

Maison Martin Margiela . 2008 . 2008

CREAM SPRING EDITION ISSUE 04

Undercover . 2006 . 2006

DIOR HOMME BY HEDI SLIMANE FOR HUGE MAGAZINE

Dior Homme . 2006 . 2006

EAST MEETS WEST

Issey Miyake . 1987 . 1987

EXCHANGE BOOKLET

Undercover . 2011 . 2011

FUKKIN KOUNTRY LOOKBOOK

Kapital . 2016 . 2016

ISSEY MIYAKE PHOTOGRAPHS BY IRVING PENN

Issey Miyake . 1988 . 1988

JUN TAKAHASHI AND HIROSHI FUJIWARA SEDITIONARIES COLLECTION BOOK

Seditionaries . 2005 . 2005

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 1

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 5

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 13

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 14

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 17

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 18

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 24

Comme des Garcons . 2013 . 2013

KATSUHIRO OTOMO FOR COMME DES GARCONS DM 25

Comme des Garcons . 2013 . 2013

LABYRINTH OF UNDERCOVER

Undercover . 2015 . 2015

LAST ORGY 2, ISSUE 10 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 11 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 12 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 13 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 14 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 15 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 16 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 17 WITH TRANSLATION

Takarajima . 1993 . 1993

LAST ORGY 2, ISSUE 23 WITH TRANSLATION

Takarajima . 1994 . 1994

LAST ORGY 2, SPECIAL EDITION WITH TRANSLATION

Takarajima . 1993 . 1993

LEGEND OF HARAJUKU GOROS, VOLUME 1

Goros . 2012 . 2012

LEGEND OF HARAJUKU GOROS, VOLUME 2

Goros . 2015 . 2015

MAKING THINGS

Issey Miyake . 1999 . 1999

MUTILATE

Walter Van Beirendonck . 1997 . 1997

MY DEAR BOMB

Yohji Yamamoto . 2011 . 2011

RAF SIMONS REDUX

Raf Simons . 2005 . 2005

REI KAWAKUBO AND COMME DES GARCONS