2017年05月31日

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

2017年04月02日

Festival of colors in the memory 記録―6日目(最終日)





さて、最終日。
まさかの雨。

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会期中、お呼びできなかった方々がこの日に集って下さいました。

この日の写真も何故か全く撮れなかった、、、、
ごめんなさい。

I-chan。
素敵な器をありがとう。
一点モノの貴重品です。どうぞ暮らしに彩りを与えますように。
会えて良かった。
美味しいレアチーズケーキ、2日間美味しく頂きました。
写真も撮り忘れてほうばりました。

K-T-kiさま。
毎回、ご足労頂きありがとうございます。
お時間を変えて頂きありがとうございました。
何もなかったですね、、、、。
次回は是非初日に、出来るだけ優先させて頂きます。













K-chan。
やっと会えましたねー。
今度はお手伝い是非お願い致しま―す。

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美しい”ちもと”この後の大切なお客様のお茶請けに、
とても喜んで頂けました。
高価なお手土産をいつもありがとう。

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そして、
この日は、法人様、卸し先様等の日として設けておりました。
皆様、お写真はNGでお出しできませんが、
2のイベントや卸しなどを可愛がって下さり誠にありがとうございます。
matoiは一人で創っているモノがコレクションラインとなり、
顧客様には大変人気の為、量産できずにおります。

fukuroやone-piece、accessoryは、
お陰様で心通じ合う技術者ブレーンに出会い、
私の手から離れ並行して創れる時もございます。
今後は、私しか創れない絵のようなmatoiを弟子を設け、
早く手から離せるようにと考えている所です。
私は本来デザイナー職ですので、今でも自分が創る事に拘りはありません。
創りたい衝動に駆られ夢中で創る事を続けている現状ではありますが、
溢れ出るアイデアを個展という形にし、皆様にもっと楽しんで頂けたらと思うばかりです。












今回も有田の産地でお世話になっている、
永年支えて下さる恩人O-sama、そして窯元の皆様。
今回ご用意できた素晴らしい黄交趾、萌黄交趾の器などは、
2の為に少しだけ再生産して頂いたモノです。
こんな小さなブランドにお付き合い下さる産地の皆様に、
心から感謝致しますと共に、その貴重で高価な品々を、
「お料理が楽しみ!」と沢山買って下さった皆さんが私の自慢です。
皆様の食卓に花が咲きますように。
日本の市場にはいいものが並ばなくなってきました。
昔あった良いものを知っている人たちが必要とする事はとても大切。
日本の産地には業界を問わず素晴らしいものが眠っています。
私の小さな発注数が、どこかで大きな需要と広がる事を願っています。


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そして最後のお客様が来る時間。

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ほぼ完売の作品をもう一度全て最初の状態にディスプレイし、
お迎えする事に。
遠路、岐阜から買い付けに来て下さり感謝で一杯。








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いつも丁寧に品物を見て下さり魅力的なお人柄に和みます。
個展で買えなかった器、過去の個展で出品した器も、
こちらのお店で扱って頂いています。
お近くの皆様、そして東京の皆様も、わざわざお出掛け下さっても本当に素敵なお店です。
セレクトが最新でハイセンスなので私は大好きです。
カフェもあり、なんとポムドテールの幻のあのスコーンも召し上がる事が出来ます。
勿論、2のオリジナルレシピはママさんのご配慮でお出しできませんで、また更に美味しいレシピのスコーンだと伺っております。

私は大好物の海老の差し入れを頂きご機嫌。

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お忙しい中、ご足労下さりいつもありがとうございます。
そして、Others to colors様で、
2を可愛がって下さるお客様にもお礼申し上げます。
また素敵な器が出掛けました。どうぞご覧下さいませー。

こちらはon-line shop、私も買いたくなる品揃えです。
http://otc.shop-pro.jp/






そしてご縁を繋いで頂いた、gorouta。
こちらは一本筋の通ったmindで展開するmen's Fashion Brand。
いまどき男子が苦手ないぶし銀さんにはお薦めです。
媚びないスタイルは着る人も洋服もカッコイイと思います。

http://gorouta.com/news/















その夜。
仕事を終え、疲れていると承知の上、
独立当初から応援してくれている二人のうちの一人の腹心が来てくれました。

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作品を見て貰う事が一番の希望。
本当に来てくれて嬉しかった。

気絶寸前のヨレヨレの夕食。
体に優しいものをと、彼女がオーダーする品々に胸が熱くなった、
二人だけのなんとも気の置けない温かい打ち上げでした。
黒豆茶。先の楽しみになっています。














そんなこんなの6日間。
沢山の皆様にお越し頂き、作品を見て頂く事が出来、本当に創って良かったと思う日々でした。
優先でお時間をお取りしていましたが、最後には溢れる人数になってしまい、間あいだに予約を入れてしまいお席もない状況を生みました。
ですが、気を遣わず何時間もお好きに過ごして下さる事も嬉しく。
毎回の事乍ら、日程を増やしてはみても、重なる日は同じとなり、どうしても混雑が回避できずにおります。
大きなアトリエに引っ越せたらと願っておりますが、皆様のご協力に感謝し、今後も不本意ながら肩を寄せ合って小さなアトリエで和やかにお過ごし頂けたらと思います。
















今回は檸檬色のミモザが皆様がくぐられる頭上で揺れておりました。

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このアイデアを創り、毎シーズン、熱い日も寒い日も、
2の庭の植物選定からメンテをして下さるEST GARDENさま。
日々の手入れは自分でも好きで一所懸命しておりますが、
毎回のお話の中で、どのように水をあげるか、どのように植物を大切にするのかをさりげなくアドバイスを伺う事が出来ます。
枯れてしまっても自然の成り行き、咲けば尚よし、植物はココロのままに育ちます。
以前、私がアトリエに籠っていた忙しい夏の日に、連日お庭をメンテして下さった事がありました。
「あなたは出てこなくていい、作品を創ってね」と。
帰られた後のその庭は見違えるような状況に。
「もうすぐ個展ですから風が通るようにしておきました」と一言。
この日から、私は、居住まいを正し、次に向かう事を大切にするようになりました。

最後はそんなESTさんと撮った写真を載せて締めくくりたいと思います。

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皆様、大変お世話になりました。
楽しい個展にして下さりありがとうございました。
夏に咲く、薔薇や藤のお庭にも是非、遊びに来て下さいね。
その頃は秋冬のオーダー会を予定しております。
追ってご連絡致します。

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ホッと一息、
今は満開のクレマチスの庭を見ながら、

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アトリエ復帰の毎日を送っています。
この後は、個展総括と、クレマチスの庭日記を書きたいと思います。

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引き続き、ブログに遊びに来て下さいね。
毎日、沢山のアクセスをありがとうございます。

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