2017年05月31日

2 Rose garden



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長い間、ブログを書かずにインスタで皆様と交流しておりました。
今ではブログをやめてインスタだけに集約される方も多くなりましたが、
私は音楽好きなので、このブログで音楽を貼りその時の気持ちを一緒に残す為、
このブログも愛おしい記録のツールの一つとして大切にしていたいと思っています。

Maxine digital magazineに掲載して頂いてから、
アクセス数が10倍になり、ちょっと緊張しますが、
私のブログは、相変わらず呑気で気の抜けた毎日を綴ります。
庭仕事も制作もこれ以上時間が取れない程精一杯頑張っておりますが、
性格が呑気なのでしょうか、、難しいブログが書けず、
フワフワとしてります。
今後共、どうぞお付き合い下さいませ。





さて、個展作品を楽しみに待っておられたであろう久々ブログ。






残念ながら、今日の記録は庭です。
この記録を残しておかないと、来年の個展期間を決めるのに困るのです。笑。



暫く、綺麗な花の写真にお付き合い下さいませー。













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すっかり、初夏の日差しが始まる5月の記録。

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テーブルの位置を変え、仕事やランチで過ごせるようにパラソルも移動。
勿論、模様替えは趣味なので全部一人で動かします。笑。







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西の花壇にはモッコウバラやクレマチスがこの後満開に。

そして玄関の藤も今年は見事でした。

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左側で真っ赤に膨らんでいるジャスミンもこの後素晴らしい香りと共に開花。
垂れ下がる藤は若干「甘味処」のイメージも拭いきれなかったけれど、、ま、いっかと。











そして、なんといっても薔薇の開花。

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こちらは「真宙」というフルーツ系のよい香りがする薔薇。
開く姿が最後まで本当に美しい。

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こちらは、ピエール ドゥ ドンサール。
壁面いっぱいに咲かせたいと願って育てた薔薇。
中央の濃いピンクが開く毎に淡くなりますが、
早めに摘んで家に入れるといつまでも濃い色が残ります。
2年目にして100程の花を付けてくれました。

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母の日に集まったHome partyでは、
姉に、姪たちと庭の花でブーケレッスンを受けました。
お庭好きな家族と過ごしたこんなに幸せな日はなかったなー。


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一年間、一生懸命育てた木々に花芽が芽生え、
大きく膨らんで寒い間はじっと固く身を守り、
光と気温を感じるままに一斉に咲き誇る姿は、
笑顔を呼び胸が躍る毎日でした。
庭好きだった天国の父に、何度も何度も話しかけ、
お仏壇には朝一番の花々を一杯に捧げる日々を過ごしました。

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毎朝、摘みきれない程の、花の咲く早いペースは、仕事をしながら大変な作業でしたが、
二番花の為にはしっかり切る事も大切なので、毎日2時間早起きして、
初夏時間の始まりでした。












そして、今は、薔薇の庭も終わり、

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ベル咲きのフューシャーピンクのクレマチス「princess of Wales」が満開です。
今年は誘引を庭中に施したので、6月の庭は蔓で埋まったクレマチスを皆様に見て頂けるかと思っていまーす。

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アトリエの格子窓にも蔓が這い、
日差しを和らげながら花が覗きます。

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手入れは大変ですが、
私にとって庭は呼吸のような存在になってきました。

10数年お庭をプロヂュースして下さっている、
EST GARDEN様に感謝しない日はありません。
「環境にあった植物」を見極める事が先ずは大切な事。を、
教わった気がしています。
瑞々しく、のびのび生きる植物達がそう教えてくれました。












皆様には、
初めて6月の庭を見て頂きますね。
紫陽花と一緒に再会を楽しみにしています。

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( ミシン越しに見る庭)


posted by 2 at 22:19| Comment(0) | 庭ーseason

Maxine digital magazine 表紙/特集



皆様、連日沢山のアクセスを、
ブログを読んで下さりありがとうございます。
‟Maxine Digital magazine”に特集して頂き、
いろいろな方にご紹介して頂き、このブログにお越し頂けた事も嬉しく思っております。

Thank you for having you have much access, everyone.
I can meet the people whom I linked to from "maxine Digital magazine" here and feel it glad.

取材は2月だったので、
私の制作は既に別の形で6月末の新作発表会である、
アトリエ個展の準備を終えようとしています。
皆様にいつかお逢いできる事を願っております。

The coverage of "Maxine Digital magazine" was February.
Present I am the note place that there is by all energy for 2 "acco oimatsu New collection" which approached June.
I wish for the chance when you can watch a work to all of you.




この場をお借りして、
Maxine Familyと出逢えた事を心から感謝致します。

‟2 acco oimatsu"が表紙になり、
特集して頂いた号がこちらからご覧頂けます。

【Maxine digital magazine】
http://www.maxinedigitalmagazine.com/
posted by 2 at 21:38| Comment(0) | お知らせーnews

2017年04月25日

もうすぐメトロポリタン。Rei Kawakubo/Comme des Garçons:Art of the In-Between

Rei Kawakubo/Comme des Garçons:Art of the In-Between
http://www.metmuseum.org/exhibitions/listings/2017/rei-kawakubo



Rei Kawakubo: A Punk’s Pain

Rei Kawakubo | Photo: Paolo Roversi コピーライトマークComme des Garcons 2016
On the eve of a major retrospective at the Metropolitan Museum of Art, the radical and reclusive Comme des Garçons designer talks to BoF’s Tim Blanks about the pain of constant creation and the impossibility of stopping.

PARIS, France − “In a way I do feel like I’ve got myself into a trap.” Rei Kawakubo hesitates, absorbed in thought, troubled. “But I can’t stop.”

Troubled? Maybe tortured is closer to the truth. Talking about her work has never come easily to Kawakubo. Her notorious reticence now seems like the truest complement to the difficulty of the work itself, the business, Comme des Garçons, which she started in Tokyo nearly half a century ago.

It was initially a pragmatic means to an end. Kawakubo was supporting herself by working as a stylist, but she couldn’t find any clothes she wanted to use on her shoots. So she decided to design her own. “I established the company on the premise of trying to always find something that didn’t exist, something new.” That has been the kachikan − the underlying value system or soul − of Comme des Garçons, for 48 years. And it has been Kawakubo’s struggle for almost as long. “Because I’m the kind of person who decides something and sticks to it, I started with that premise and carried on, and through the doing of it, without wavering from the kachikan, it became more difficult. The more I did it, the more people expected it, and the more experience I had, the harder it was to find something. But I could never change that thing, because then it wouldn’t be Comme des Garçons. I had no idea it was going to be like that. I didn’t say, ‘I’m going to have a career that gives me lots of suffering and pain.’”

Rei Kawakubo loves punk. Scan her career and the punk spirit of DIY defiance crops up over and over again. So it’s a part of the essential paradox of Comme des Garçons that she has stuck so hard and fast to the rules of the fashion industry. Season after season, decade after decade, she has shown a collection for spring, a collection for autumn; womenswear and menswear. And it just gets harder. She of all people could break the mould, like her peer Azzedine Alaïa. Show when she wanted, maybe even drop a season if she so desired. But Kawakubo is convinced that if she stops, she’ll never be able to start again. “I’ve never see a person who took time off and came back even stronger than they were,” she says. “That’s definitely true with fashion.” Besides, she insists, the diktat of the fashion calendar is a necessary discipline for her. “Next time, next time… if I don’t keep asking myself when I have to do the next one, then I won’t be able to do it.”










On this particular morning, in the Paris offices of Comme des Garçons, Kawakubo is attended, as always, by Adrian Joffe, her husband of 26 years and president of the company. Clearly sensitised to her hesitant, muted mode of speech, he is her translator. And, like all those who are close to Kawakubo, he can confirm that the creative process is acutely painful for her. The pain only subsides when she is actually making something. “That seems to be the way it is,” she agrees. “I’m never sure, even up to the minute before the show, how it all hangs together. There’s never a moment when I say, ‘OK, I’ve done it.’”

Maybe it could never have been any different. Quick, choose three words that define Comme des Garçons. Mine would be: zero, new, freedom. Zero is where Kawakubo always starts in her pursuit of something new, something that doesn’t already exist, and freedom is obviously necessary for her quest. But freedom has two faces − freedom from and freedom to, the burdens attached to both defined for the ages by the influential psychoanalyst Erich Fromm, whose masterwork “Escape from Freedom” rings as true now as it did in 1941 when he wrote it under the stormclouds of Nazism. For Fromm, freedom was identical with doubt, and genuine free thinking provoked anxiety. Obviously, he never met Rei Kawakubo, the most free-thinking of all fashion designers, but she certainly embodies his theory.

Kawakubo’s most immediate source of anxiety is “Art of In-Between,” the exhibition which opens at the Metropolitan Museum of Art in New York on May 4. It’s only the second time in the 70-year history of the museum’s Costume Institute that there has been a show dedicated to a living designer. And it’s the first time Kawakubo has agreed to put her name to such an endeavour. Why now? “Good timing,” she replies succinctly. More of that later.

She’s never had any interest at all in revisiting her past, so the thought of a traditional retrospective was anathema to Kawakubo. When head curator Andrew Bolton originally approached her, she wanted the exhibition to focus only on the past four years, the eight collections she has shown for women since Spring/Summer 2014, when she changed everything for Comme des Garçons. At the time, Kawakubo had hit a wall. Going back to zero yielded no dividend. She craved an alternate consciousness, any consciousness as long as it wasn’t hers: outsider artists, autistics, schizophrenics, psychonauts… “How do I get out of my head?” she demanded of Joffe. The option of making herself mad not being a particularly viable one, Kawakubo came to this conclusion: I won’t even try to make clothes. “Not Making Clothing” was the name she gave that Spring/Summer 2014 collection. Not making “clothing” is what she has been doing ever since, with a procession of shows that have subverted to transcendent effect the familiar forms and functions of fashion. “It was the only way I could continue to do what I wanted,” she insists.










By that same token, it was the only way she could imagine doing a museum show. “But the whole thing developed further from that and became something a little different,” Kawakubo concedes. “I was not so happy at first. I never wanted to do a retrospective, and it ended up like that. There was give and take. It’s a Met show for Comme des Garçons, not a Comme des Garçons show at the Met. Compromises were made. The most important point was we finally agreed to compromise on showing old things.” The deal that was struck was that Bolton would get to curate his “old things,” Kawakubo would get to create a museum exhibition “in a way it’s never been done before. I didn’t want to show clothes in someone else’s space.”


“I never know at any given time whether I’ll even be able to do the next collection. It’s very painful.”

The essential publication that accompanies “Art of In-Between” features some tantalising renderings of Kawakubo’s maze-like exhibition space in its virgin state. It illuminates the concepts of mu (emptiness) and ma (space) defined by Bolton in his introduction as fundamental to Comme des Garçons, along with the idea of wabi-sabi, the Zen Buddhist appreciation of asymmetry, irregularity and imperfection. When he outlined these lyrical parameters at a preview of the exhibition in Paris in January, I assumed Bolton was channeling Kawakubo. “I understood most of what Andrew said,” she counters. “Some I agreed with, some I didn’t. I knew from the process of working with the Met it would be like that. The point of the curator is his interpretation which we allowed him to have. We trust in him. He trusts in us.” She once said she preferred the notion of “conspiracy” to “collaboration.” “To go underneath and turn something upside down” is the way she described it to me. In the book, there is a transcription of a conversation between Kawakubo and Bolton that offers some stimulating insight into the extent − and the limitations − of their conspiracy.

You can only imagine the to and fro. Kawakubo would be a formidable combatant. And that’s why her insecurity is such a surprise. “Are you sure people who don’t know Comme des Garçons will come?” she wonders about the Met show. “I don’t expect anybody to come.” I remind her of the massive turnout for the museum’s Alexander McQueen extravaganza. “Didn’t they know McQueen more?” No, not at all. On my visit, I’d talked to an elderly couple from Hawaii who’d been drawn in by the museum and entranced by the exhibition. And so it will surely go for Comme des Garçons. “A new audience?” Kawakubo muses. “That might be the point of doing it at the Met. I would hope to teach some of those people a new aesthetic, that there are different ways of looking at beauty, other values that can be valid.”

There’s a similar tentative note when she talks about her last show, “The Future of Silhouette,” in which sculpted shapes, simultaneously primordial and futuristic, moved warily around a raised pink stage under artfully strung spotlights. It felt more…theatrical… than Kawakubo’s usual presentations, which are resolutely floor-level with no extraneous flimflam. Joffe explains that more people wanted to come because of the Met, and that necessitated a stage, so that they would all be able to see. Kawakubo reluctantly complied, but made sure the stage was an original shape (triangular). And pink, “to make it more beautiful.” And, 10 minutes before showtime, she instructed her models to use the whole stage, “to be aware of each other, have some communication. You can’t really express much when you’re just walking up and down.” As usual, just what that expression might be was refracted through a multitude of interpretations. “Was it a good meaning?” Kawakubo flickers uncertainly. She has no idea. “I never know if the last one’s been successful till I start the next one. It’s very hard for me to judge. I never know at any given time whether I’ll even be able to do the next one. It’s very painful.”

Pain, again. That may well be the condition of an ethos which took shape in the uncharted zone of the “In-Between.” Bolton’s curation is a set of polarities: Fashion/Anti-Fashion; Design/Not Design; Then/Now; High/Low; Self/Other; Object/Subject; Clothes/Not Clothes. Any effort to reconcile them is sufficient to simulate the anxiety that has maybe underpinned Kawakubo’s career from the start. Inevitable really, when her company, founded on a quest for financial independence, was always a delicate balance of her wants and needs, of creativity and commerce.

“It’s a contradiction,” she acknowledges. “I want to give myself the freedom to always find something new but at the same time, I want to have a successful business where I can grow and pay the people and look after the factories and get more staff.” So the impossibility of stopping is not just about disappointing people who expect − who need − her vision. It’s also about her commitment to the spiritual and physical wellbeing of everyone who works for her. More of that essential paradox: the radical vision hand in hand with one which is traditional, maternal. She could be “Mamma Rei, the matriarch” if it weren’t for her antipathy to any conjecture that is gender based. (When I ask if the pain she talks of might be connected to a particular female creativity − the pain of giving life? − she says, “I don’t think it’s any relation to that. There are lots of men who give birth to ideas.” Her business is comme des hommes.)

So maybe I’ll cast Kawakubo in a more tribal light, something along shamanistic lines. It suits the spiritual dimension of Comme des Garçons. The most profound polarity is Life/Death. Spirits move in the space between them. According to its folklore, Japan is one of the most haunted places on earth. Every human being houses a reikon, a powerful spirit which is released at death. This digression on my part unsurprisingly gets short shrift from Kawakubo, but I still feel there’s some subliminal connection with the “Art of In-Between.” It’s in the way she works, not there in front of you, but somewhere behind, somewhere around. Ghostly.

The audience for “Art of In-Between” will undoubtedly include thousands for whom Rei Kawakubo’s insistence on her fundamental ordinariness will seem perverse in the context of her extraordinary body of work. She would hardly be the first artist who was preconceived by her art. But you can glean a reassuringly human portrait of the woman from decades of commentary. She loves animals and architecture, good food, travel, hot springs. Her fondness for movie directors like Tarkovksy, Angelopoulos and Pasolini − complicated, dark − isn’t a surprise. Her love of slapstick humour is. She likes to read biographies. “She’s almost interested in politics,” adds her husband. And Kawakubo’s respect for tradition, her admiration of authenticity are obvious in her love of uniforms, which has been a constant in her collections. She’s created her own uniform pieces too. The Aoyama bag has been on shelf for 20 years.

And yet, each new season is Kawakubo’s invitation to agony as she sets herself the impossible challenge of exploring the in-between yet again. “Someone trying to measure infinity” was journalist Robin Givhan’s memorable summation of Kawakubo. Which raises the urgency of time, the issue of ageing for a designer in her mid-seventies at the helm of a multi-tentacled business that generates revenue of over $280 million a year. There are now more than a dozen collections that carry the Comme des Garçons label, along with the burgeoning multi-brand retail business Dover Street Market. “We’ve been growing so quickly the last few years,” says Joffe. “The only way to grow is horizontally, because Rei is very aware that the market is limited for the main line.” He also believes the other brands, the other designers under the Comme des Garçons umbrella − like Junya Wantanabe and Noir Kei Ninomiya − will ensure the company thrives into the future, even as he knows there can never be another Kawakubo.

Meanwhile, she still has her eye on every detail of her empire. If she has given the designers in her stable creative freedom, she is engaged in every other element of their strategies. But, Joffe says, she is also preparing for a world without Rei. Met show notwithstanding, her own legacy matters less to her than the future wellbeing of her company.

But still, there’s that answer she gave me: “Good timing.” You can appreciate Kawakubo’s nervousness about “Art of In-Between.” Swansong? Lifetime achievement gong? No. The impossibility of stopping, remember? She has spent decades raising people’s expectations, then torturing herself as she tried to meet them. As one definitive statement about exactly what it is Kawakubo’s been doing all these years, the Met show functions as a glorious exercise in expectation management. Perfect timing. If it’s impossible for her to stop, she will at least now be free from... Hopefully that will make her free to... The trap opens.


The Business of Fashion(より転記)
By Tim Blanks
London, 25 April, 2017
************************************************


今日一日、無事で過ごせるのでしょうか。
5分以内に地下に避難できますか?
毎日、どこかで戦争が起こり人々が殺されています。
家族が死んでしまう恐怖を、自分の手足がもがれても生きて行く恐怖を、
何にも置き換えず創造してボタンを押し合わない社会を願い続けます。







敬愛する川久保玲が創るcomme des garçonsの展覧会、
Rei Kawakubo/Comme des Garçons:Art of the In-Betweenが、
もうすぐメトロポリタンでスタートします。
インタビューを受ける事の少ない川久保さんや、特集記事を載せる事も珍しいので、
今日はいろいろな事を想い、メッセージの転記と自分の事を書いてみました。




*******************************

仕立て屋の娘に生まれ、上品な花柄のワンピースで育った私が、
初めて自己の精神とマッチするファッションに出会ったのが16才の時。
ファッションビルの中で何にも媚びない空間に、説明もなく、
ボロボロに朽ちた布やニットを、女子とも男子とも体の線を見せないビッグシルエットに創り、
その得体のしれない物体が吊られた光景。
メッセージを知りたくて店内に入るも接客に笑顔も雑談も一切なし。
「私のような者が試着させて頂く」といったムードの中、
袖を頭をあらゆる穴から出すと、その先には初めて見る強い自分が居た。

comme des garconsを着て34年になる。
一度のコレクションも退屈に思った事はなかった。

永年「興味ある洋服のデザイン」であったが、ご縁あって、
92年に企画パターンナーとして川久保社長本人に指示を仰ぐ制作過程の内部を経験した。
発見、構築、緊張、興奮の連続は毎日漏れなく明方6時までの仕事に及んだ。
全員タクシーで帰宅、シャワーを浴び、着替えて9時にはもう事務所で社長のトワルチェックを受けていた。

今思えば、全てのコレクションブランドのインナーに位置するローブドシャンブルには、年間を通して、コレクションの狭間がなく体も気も休まる期間がなかったのだ。記憶が確かなら、メンズもベビーも携わっていた。
私が居たポジションで長続きした人が居ないと聞いていたので、短期間でドクターストップを受けた事は今でも悔やまれる。
内臓の傷みなら在籍を続けただろう。しかしあの朝は目の視神経が切れて「ここから先一ヶ月目をつむっていないと見えなくなりますよ」と宣告を受けたのだからどうしようもない瞬間的離職だった。

それ以来ずっと私は、敬愛する川久保玲の哲学の中で生きて来た。
今や、難しくデザインされた洋服など好きではない。
「選んで着る自由」というメッセージにも苦笑いしながら毎シーズン袖を通してはみるものの、即転売する自分の自由も考えている。

「パーソナルな高級婦人服の誂え」と密接していた幼少期、思春期。
「外観的ファッション」の業界に身を置き、衣類を造ってきた20代30代。
「内面的生活用品」を業界で構築してきた30代40代。
そして今、
「ファッションは哲学」「暮らしは美学」
という考えに行きつき、
何を生み、どんな空間で暮らすのかを模索する毎日。













世界には素晴らしい素材がある。
未だ行った事のない各国の手で創られた素晴らしいもの。
年代を超え美しく残ってくれた先人のメッセージ。
私の手に必然的に集まったそれらのモノガタリの欠片に耳を傾け、
新しい世界を構築するのに興奮の日々。

これが私の仕事です。





もうすぐ【2 acco oimatsu】の仕事や暮らしに焦点をあてた特集が発表されます。
30年間森英恵さんと仕事を重ねてこられたスタイリストであり、多方面でもご活躍中の素敵な大御所、
Maxine Van-Cliffe Arakawa様に【2 acco oimatsu】を紐解いて頂いた内容となるようです。
こちらのフェイスブックでは予告で2での撮影一コマが紹介されています。
https://www.facebook.com/Maxine-Digital-Magazine-271447346201801/

正式なUPはこちらの、
maxine digital magazine
で、間もなくとなります。
前号の特集はDolce & Gabbana
こちらからご覧頂けます。
http://www.maxinedigitalmagazine.com/

Ms.Maxine から受けた撮影、インタビュー、コーディネートの全ての視点は、
これからの私のエールになると思っています。

2 acco oimatsu








*次回コレクションは6月後半、アトリエでの開催予定に変更しました。

前回のブログを書き終えた頃から仕入を始めたところ、
素材の素晴らしさに高揚し、
個展後記を書かずに失礼しております。

連日、沢山のアクセスを大変ありがとうございます。
posted by 2 at 11:53| Comment(0) | 記録ーdiary